The Bronx Art Space is a Non-for-Profit that promotes the innovative ideas of underrepresented and emerging artists and curators. It is dedicated to exhibiting quality artwork from The Bronx and around the world with a mission to foster dialogue around global issues.

 

 

A three-venue exhibition between Andrew Freedman Home, BronxArtSpace and Swing Space, STATE PROPERTY is a multi-disciplinary examination of American consumption of prison labor and our daily choices to purchase, condone or reject goods created in penitentiaries. The exhibition asks guests to consider what “Made in the U.S.A” currently means about the incarceration system and corporate outsourcing. Currency and choice are the springboards towards a much deeper dialogue that recognizes these injustices.

 

Opening Receptions

Sep 8, 6-9pm at BronxArtSpace

Sep 15, 6-8 at Swing Space

Sep 22, 6-11pm at The Andrew Freedman Home

 

STATE PROPERTY describes a citizen that once incarcerated is inspected, cataloged, housed, and assigned to the state as its property like a slave whose body if damaged or altered from its original value is further financially penalized.

STATE PROPERTY also describes all goods manufactured in correctional facilities and government land and buildings from courthouses to public housing, in which many of these products from furniture to mops are then used.

When major corporations can buy into this labor system as a way of appealing to the “locally owned, locally grown” fad, the prison industrial complex pins inmates into either forced labor as a means to pay back the cost of their incarceration or solitary confinement as punishment. Prisoners provide luxury and everyday items that they cannot partake in, while taxpayers provide for the upkeep of prisons. As incarceration rates grow exponentially, taxpayer money is transferred from poor minority communities to white rural counties to reject these drastic shifts in population.

The boundaries that are challenged between product, services, and citizenry are intentionally blurred by the artists forcing us to question how we define ourselves and personal ethics within our social system.

Touching upon a narrative that categorizes people of color as property, STATE PROPERTY comments on power paradigms that perpetuate today’s socioeconomic tiers, and simultaneously presents a

visual alternative that is more hopeful. Through painting, photography, sculpture, installation, video, and performance, artists scrutinize mass incarceration, police brutality, class conflict, and racial hierarchy.

 

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