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Albert Woodfox of the ‘Angola 3’ Freed from Prison After Nearly 44 Years in Solitary

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By Ed Pilkington, The Guardian

 

Albert Woodfox, the longest-standing solitary confinement prisoner in the US, held in isolation in a six-by-nine-foot cell almost continuously for 43 years, has been released from a Louisiana jail.

 

Woodfox, who was kept in solitary following the 1972 murder of a prison guard for which he has always professed his innocence, marked his 69th birthday on Friday by being released from West Feliciana parish detention center.

 

It was a bittersweet birthday present: the prisoner finally escaped a form of captivity that has widely been denounced as torture, and that has deprived him of all meaningful human contact for more than four decades.

 

For the duration of that time, Woodfox was held in the cell for 23 hours a day. In the single remaining hour, he was allowed out of the cell to go to the “exercise yard” – a small area of fenced concrete – but was shackled and kept alone there as well.

 

Woodfox was one of the so-called “Angola 3”: three prisoners initially held in Louisiana’s notorious Angola prison, and who subscribed to the Black Panther movement and campaigned against segregation within the institution in the 1970s. His supporters contend that he was framed for the 1972 killing of the prison guard Brent Miller as revenge for his political activities.

 

Last November James Dennis, a judge with the federal fifth circuit appeals court, described the conditions of Woodfox’s confinement. “For the vast majority of his life, Woodfox has spent nearly every waking hour in a cramped cell in crushing solitude without a valid conviction,” he said.

 

In a statement released by his lawyers, Woodfox said that he would use his newfound liberty to campaign against the scourge of solitary confinement that at any one moment sees 80,000 American prisoners being held in isolation. “I can now direct all my efforts to ending the barbarous use of solitary confinement and will continue my work on that issue here in the free world.”

 

The prisoner’s release came after the state of Louisiana agreed to drop its threat to subject him to a third trial for the 1972 killing. Woodfox in turn pleaded no contest to lesser charges of manslaughter and aggravated burglary.

 

The “no contest” plea is not an admission of guilt, and Woodfox continues to be not guilty of the main murder charge. He said that “although I was looking forward to proving my innocence at a new trial, concerns about my health and my age have caused me to resolve this case now and obtain my release with this no-contest plea to lesser charges.”

 

His murder conviction was twice overturned – once in 1992 on grounds that he had received ineffective defense representation, and again in 2008 because of racial discrimination in setting up the grand jury that indicted him.

 

Last year, Louisiana announced it would put him through a third trial despite the fact that all the key witnesses to the killing have since died. Woodfox’s lawyers argued the lack of witnesses would render such a retrial a legal mockery.

 

His two fellow Angola 3 allies were already freed. Robert King was released in 2001 after having his separate conviction overturned, and Herman Wallace, who spent almost 30 years in solitary confinement, was allowed out of prison two days before he died in 2013.

 

“There was no logical reason that Louisiana kept him in solitary for so many years, for a crime in which all the evidence was undermined,” King told the Guardian.

 

“They did it as a war against the ideology of the Black Panthers and because they didn’t want to be seen to have been wrong all this time.”

 

Scientists have long warned about the dire effects caused by solitary confinement on prisoners even after a few days of such treatment, and several international bodies including the UN have called for it to be banned as a form of torture.

 

The supreme court justice Anthony Kennedy has also spoken out about the practice, remarking that the side-effects of prolonged isolation include anxiety, panic, withdrawal, hallucinations, self-mutilation and suicidal thoughts and behavior.

 

George Kendall, Woodfox’s attorney, said his client’s decades-long isolation was indefensible. “Albert survived the extreme and cruel punishment of 40-plus years in solitary confinement only because of his extraordinary strength and character. These inhumane practices must stop. We hope the Louisiana department of corrections will reform and greatly limit its use of solitary confinement as have an increasing number of jurisdictions around the country.”

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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