{"id":1093,"date":"2021-02-01T13:29:43","date_gmt":"2021-02-01T21:29:43","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1093"},"modified":"2021-02-01T13:29:43","modified_gmt":"2021-02-01T21:29:43","slug":"slavery-the-prison-industrial-complex-at-art-practice","status":"publish","type":"post","link":"https:\/\/artandpractice.org\/es\/news\/slavery-the-prison-industrial-complex-at-art-practice\/","title":{"rendered":"Esclavitud, el complejo industrial de prisiones en Art + Practice"},"content":{"rendered":"<p>La Penitenciar\u00eda del Estado de Luisiana, anteriormente una plantaci\u00f3n, es actualmente la prisi\u00f3n de m\u00e1xima seguridad m\u00e1s grande de los Estados Unidos. Hace tiempo que se la conoce como Angola, por el pa\u00eds del que proced\u00edan muchos de los esclavos de la plantaci\u00f3n. Ahora, m\u00e1s de las tres cuartas partes de la poblaci\u00f3n de esta prisi\u00f3n es afroamericana. Keith Calhoun y Chandra McCormick, activistas y fot\u00f3grafos de marido y mujer radicados en Nueva Orleans, han pasado d\u00e9cadas en Angola, documentando la desgarradora existencia de estos reclusos.&nbsp;<em>Esclavitud, el Complejo Industrial Penitenciario<\/em>, a la vista en Art + Practice en Leimert Park, examina su trabajo.<\/p>\n\n\n\n<p>Lee el art\u00edculo completo&nbsp;<strong><a href=\"http:\/\/contemporaryartreview.la\/slavery-the-prison-industrial-complex-at-art-practice\/\">aqu\u00ed<\/a><\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"<p>The Louisiana State Penitentiary, previously a plantation, is currently the largest maximum-security prison in the United States. It has long been known as Angola, after the country from which many of the plantation\u2019s slaves first came. Now, over three-quarters of this prison\u2019s population is African-American. New Orleans-based husband-and-wife activists and photographers, Keith Calhoun and Chandra [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1093","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1093","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/comments?post=1093"}],"version-history":[{"count":3,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1093\/revisions"}],"predecessor-version":[{"id":1316,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1093\/revisions\/1316"}],"wp:attachment":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/media?parent=1093"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/categories?post=1093"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/tags?post=1093"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}