In an age where social justice and reform have become integral to philanthropic efforts, it’s ironic—and infuriating—that one of the most authentic voices on incarceration remains unheard.
The Mellon Foundation’s “Imagining Freedom” initiative, which pledged $125 million to support art addressing mass incarceration, has drawn attention for its ambition. Yet, this initiative has a glaring oversight: it excludes those directly impacted by incarceration, particularly artists like Donald “C-Note” Hooker, whose work captures the raw reality of life behind bars.
C-Note’s work, like his poignant piece Incarceration Nation, speaks directly to the experience of the incarcerated. This piece, featured on a public billboard in 2021, presents the United States as a map of prison bars, with key locations marked—sites where high-profile incidents of police violence occurred. This image alone encapsulates the harsh irony of freedom in America and the systemic entrapment of people of color. And it’s not just a picture; it’s part of C-Note’s larger narrative—a life lived within prison walls, producing art that resonates far beyond them.
The True Voice of Incarceration: Why C-Note’s Perspective Matters
C-Note’s artwork is not merely a commentary on prison life; it’s a lived experience expressed through art. His work dives into themes of loneliness, resilience, hope, and despair—emotions he knows intimately. Pieces like My Dilemma, a haunting image of a single tulip behind bars, accompanied by a poem about innocence lost, speak to the countless individuals caught in the criminal justice system for crimes they did not commit. It’s the type of art that makes you pause and confront uncomfortable truths, challenging the viewer to look beyond numbers and statistics to the human lives affected.
His “Paintoems,” which merge painting and poetry, are as provocative as they are profound. The Prism of Abolitionism, a piece inspired by activist Angela Davis, examines the commodification of prison reform and challenges the idea of profit-driven “solutions” to incarceration.
Tears of the Mothers captures the grief of Black mothers mourning their children lost to violence, while Strange Fruit, echoing Billie Holiday’s famous song, draws attention to the suicides among incarcerated women.
Each piece is a testament to C-Note’s talent for capturing the layered complexities of incarceration—realities that philanthropies like Mellon claim to want to bring to light.
Yet, Mellon’s rules prevent funding individuals, even though their initiative is intended to uplift voices affected by incarceration. This exclusion raises serious questions. How can an initiative like “Imagining Freedom” claim to address the realities of incarceration when it fails to support artists like C-Note, who embody those experiences in their work?
The Irony of Ignoring an Established Voice
Despite being incarcerated, C-Note’s art has broken through the confines of prison walls. His work has been showcased in galleries, featured in publications, and displayed on billboards. His piece, Incarceration Nation, was not just a painting but a statement—a striking reminder that mass incarceration is as American as the flag itself. In another symbolic milestone, a Polaroid capturing his billboard display now holds a place in the history of the medium. It’s ironic that C-Note’s work has reached the public in ways few could imagine, yet he remains excluded from the very funding that claims to advocate for artists like him. As noted in a recent Philanthropy News Digest article, “Mellon’s $125 million ‘Imagining Freedom’ ignores incarcerated artists,” Mellon’s “Imagining Freedom” initiative has overlooked artists directly impacted by incarceration—those who could provide the most genuine perspectives on the subject.
Mellon’s guidelines, which prohibit grants to individuals, effectively disqualify C-Note and other incarcerated artists who cannot meet the bureaucratic demands of setting up 501(c)(3) organizations from within prison. This policy not only marginalizes authentic voices but also sends a message that the stories Mellon seeks to support are only palatable if they come through institutionally “acceptable” channels. It’s philanthropy with an asterisk: only accessible if you fit the mold.
A Call for Genuine Inclusion
The story of C-Note raises a critical question for the art and philanthropic communities: What is the true goal of initiatives like “Imagining Freedom”? If the intent is to shed light on the realities of incarceration, then funding should prioritize those who have lived that experience. By sidelining artists like C-Note, Mellon’s initiative risks becoming another example of performative activism, more focused on optics than impact.
Imagine the potential if Mellon’s funds supported authentic voices—those like C-Note’s, who need no prompting to understand the effects of incarceration because they’ve lived it. His works are a blend of raw personal experience and creative expression, offering a perspective that cannot be replicated by those outside the prison system. The images he creates are not just art; they are windows into the soul of a system that often dehumanizes its inhabitants.
Amplifying C-Note’s Voice: A Necessary Shift
There is still time for Mellon, and other philanthropic organizations, to reconsider their approach. By working directly with incarcerated artists or partnering with nonprofits that can channel funds to individuals within prison, Mellon could ensure that its initiative genuinely reflects the realities of those it claims to support.
As long as artists like C-Note are excluded, the conversation around incarceration remains incomplete. His work, from the haunting Decarcerate Now! to the reflective Life Without the Possibility of Parole, brings a depth and authenticity that cannot be fabricated. These are the pieces that should be at the forefront of any effort to depict the impact of incarceration.
Conclusion
C-Note’s art tells stories that Mellon’s $125 million can’t replicate—stories of pain, resilience, and survival that only someone with firsthand experience can express. By ignoring these voices, Mellon’s “Imagining Freedom” initiative reveals a troubling blind spot in its mission. It’s time for the philanthropic world to recognize that real change doesn’t come from excluding those most affected by injustice. Real change requires listening, learning, and funding the voices who speak from within.
Until that happens, we’ll continue to see powerful artists like C-Note left behind—not because their voices lack power, but because they lack the institutional endorsement that would allow them to be heard. For an initiative supposedly about freedom, that’s a glaring contradiction that demands to be addressed.
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