From Solitary Confinement to a Solo Show at the Met

Summary

Podcast Summary: All Of It – "From Solitary Confinement to a Solo Show at the Met"

Host: Alison Stewart
Guest: Jesse Crimes, Artist and Founder of the Center for Art and Advocacy
Release Date: May 5, 2025

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Introduction to Jesse Crimes and His Work

In this compelling episode of All Of It, host Alison Stewart welcomes Jesse Crimes, an influential artist and the visionary behind the Center for Art and Advocacy. Jesse's journey from solitary confinement to having a solo exhibition at the prestigious Metropolitan Museum of Art (Met) serves as an inspiring narrative of resilience, creativity, and advocacy.

Opening Remarks: Alison Stewart introduces Jesse Crimes by highlighting his role in advocating for the rights of incarcerated individuals, especially artists. She mentions his foundational work with the Center for Art and Advocacy and his recent solo show at the Met titled “Jesse Crimes Corrections”, which showcases art he created during his six-year imprisonment. Jesse's Emmy-winning documentary, "Art and Crimes," further underscores his commitment to using art as a medium for social change.

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The Vision Behind the Center for Art and Advocacy

Initial Dream and Mission: Jesse elaborates on his initial vision for the Center for Art and Advocacy, emphasizing the need to create an institution that mirrors the vastness of the carceral system he experienced. He states:

"We are focused on funding artists across the country. We provide fellowships and grants to six artists every year. We are building an academy program to partner with institutions across the country. We're also building a residency in rural Pennsylvania."
(02:33)

His ambition is to expand the Center's reach, offering support and resources to artists impacted by incarceration nationwide.

Importance of a Dedicated Space: Alison probes into the necessity of having a physical space for the Center. Jesse responds by discussing the systemic erasure of incarcerated individuals and the challenges artists face in maintaining visibility:

"Many of our artists have lost literal decades of their life behind bars in a system that is designed to very publicly erase you from society."
(04:07)

He underscores the importance of New York City as an epicenter of the art world, providing a platform for these artists to showcase their work and engage with the broader community.

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Designing the New Space in Bed-Stuy

Architectural Vision: Jesse shares insights into the thoughtful design of the new Center space in Bed-Stuy, Brooklyn. Collaborating with architect Karai Dunham, they incorporated movable walls and multifunctional spaces to accommodate various creative disciplines:

"We designed the space to put all of those different creative practices on equal footing. Movable walls with hidden projectors allow for flexibility in showcasing art, film screenings, and poetry readings."
(05:08)

This architectural approach ensures that visual artists, performance artists, writers, poets, and filmmakers can equally present their work in a respectful and versatile environment.

Community Impact: Choosing Bed-Stuy as the location was a strategic decision to embed the Center within a community heavily impacted by incarceration. Jesse emphasizes the importance of engaging local residents and fostering a sense of ownership and participation in the artistic dialogues.

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Current Exhibitions and Artistic Collaborations

"Collective Jesters" Exhibit: Upon entering the Center, visitors encounter the "Collective Jesters" exhibition, featuring 35 fellows funded by the Center. Jesse describes the diverse range of artworks, including large-scale poetry installations and multimedia presentations by filmmakers like Mitchell Jack, Dwayne Betts, and Felita Hicks:

"There is artwork on the walls, video monitors with headphones showcasing our filmmakers. It's a broad exhibition where artists choose what to display, revealing interconnected themes organically."
(06:25)

This exhibition exemplifies the community-driven ethos of the Center, showcasing how collaborative efforts can address complex social issues through art.

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Balancing Artistic Practice and Leadership

Personal Challenges: Jesse candidly discusses the difficulties of managing his dual roles as an artist and the director of the Center:

"Last year was a very big year... I got very few hours of sleep for quite a long time. But moving forward, it's relying on the staff that we're building out with the organization."
(08:05)

He credits his team, particularly Deputy Director Carly Fisher, for their support in delegating responsibilities and sustaining the Center's operations.

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Solo Exhibition at the Metropolitan Museum of Art

Reflections on the Met Exhibition: Jesse shares his profound experience seeing his work displayed at the Met, juxtaposing the institution's role in showcasing valued art against the carceral system's intent to marginalize:

"I fully felt the weight of what it meant to be seen and, like, the importance of hanging on those walls. It sends a very strong signal that the work of directly impacted artists is culturally significant."
(09:37)

He reflects on his first visit to the Met during high school, describing it as a transformative experience that fueled his passion for art.

Artistic Journey: From his early days creating art in solitary confinement to becoming a recognized artist, Jesse narrates how art provided him a sense of autonomy and safety amidst systemic oppression:

"Making was always just one of those spaces that felt safe to me, and it felt like a place where I had autonomy."
(12:04)

His exhibition “Jesse Crimes Corrections” at the Met stands as a testament to his resilience and the power of art to transcend oppressive environments.

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Audience Engagement and Personal Stories

Caller Interaction – David's Story: Alison invites a caller named David from Brooklyn, a sculptor who spent two years in a juvenile detention center in Tennessee. David expresses gratitude for the Center's support:

"The ability to see you bring this opportunity for artists to have exhibitions, have money to be able to fund what they're doing is really amazing."
(12:55)

Jesse responds empathetically, acknowledging the systemic injustices and emphasizing the necessity of creating spaces for healing and advocacy through art:

"Artwork is a powerful medium because it serves not just as an expression of an individual, but also speaks on your behalf even when you're not there."
(14:13)

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Advocacy and the Fight Against Mass Incarceration

Evolving Public Discourse: Jesse discusses the shift in public awareness regarding mass incarceration, influenced by works like Michelle Alexander's "The New Jim Crow" and Ava DuVernay's documentary "13th":

"This is a moment to utilize artwork and the creative practice to have these conversations. This is necessary for us to heal."
(16:13)

He highlights the growing cultural momentum to address and dismantle systemic injustices, positioning art as a crucial vehicle for societal reflection and change.

Personal Motivation: Despite being naturally introverted, Jesse is driven by the plight of his friends and loved ones still incarcerated. He emphasizes the urgency to support directly impacted artists and reclaim narratives surrounding incarceration:

"There's an urgency and a necessity to support directly impacted artists, to talk about what's happening and to reclaim the narrative."
(17:52)

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Future Endeavors and Closing Thoughts

Upcoming Projects: Jesse hints at future exhibitions and projects, including a planned showcase at Jack Shaming Gallery, indicating ongoing efforts to expand the Center's influence and support network for incarcerated artists.

Final Reflections: Alison concludes the episode by reiterating Jesse's significant contributions through the Center for Art and Advocacy and his impactful presence in the art world. She encourages listeners to visit both the Center in Bed-Stuy and his Met exhibition “Jesse Crimes Corrections”, available until July 13th.

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Conclusion

This episode of All Of It offers a profound exploration of Jesse Crimes' journey from the confines of incarceration to the expansive galleries of the Met. Through candid discussions, personal anecdotes, and shared visions for a more just and inclusive art community, Jesse underscores the transformative power of art as a tool for advocacy and societal change.

Key Takeaways:

• The establishment and mission of the Center for Art and Advocacy.
• The significance of creating dedicated spaces for artists affected by incarceration.
• Jesse Crimes' personal resilience and commitment to combating mass incarceration through art.
• The evolving public discourse on systemic injustices and the role of art in fostering dialogue and healing.

Listeners are left inspired by Jesse's unwavering dedication to uplifting marginalized voices and the pivotal role of art in shaping a more equitable society.

Transcript

[Progressive Insurance]

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[Alison Stewart]

This is all of it on wnyc. I'm Al Alison Stewart. Artist Jesse Crimes uses his talents to advocate for the rights of people who have been incarcerated, especially artists. He founded the center for Art and Advocacy and it just opened a new space at 22 Bancroft Place in Bed Stuy. The current exhibition is Collective Building Community Through Practice. Now checking out. After checking out the work there, you can head to the Metropolitan Museum of Art to see Crimes work. The show is called Jesse Crimes Corrections. It features work done while Jesse was in prison for six. He would secretly mail out his art to the outside world. Now to see this whole story, you can watch the Emmy winning documentary Art and Crimes by Crimes. Jesse Crimes is now with me in studio. It is nice to see you.

[Jesse Crimes]

It's so nice to see you. Thank you for having me.

[Alison Stewart]

So you just opened this new home for the center for Art and Advocacy. But before we get there, what was your initial dream for the center?

[Jesse Crimes]

Oh, wow, that's a big question. I think in many ways, you know, my experience of having navigated the carceral system for so many years and just engaging with the kind of sheer scale that is our carceral system and landscape. I think that what we are trying to build at the center for Art and Advocacy is something that is equal in scale, which is a very big dream, but it's also something that I believe is very necessary. And so we are focused on funding artists across the country. We provide fellowships and grants to six artists every year. We are building an academy program to partner with institutions across the country. We're also building a residency in rural Pennsylvania. And as you mentioned, we just opened our brand new space in Brooklyn. And so that's all a way of saying that in many ways we're just getting started and that there is a lot more to come as we expand and really build our reach across the country.

[Alison Stewart]

After leaving prison, you could have gone on with your life. You could have pursued your life as an artist. Why did you want to put your effort into uplifting other artists who have been incarcerated and advocating for them?

[Jesse Crimes]

You know, it was never really a question for me. It was just again, having navigated that system and knowing not only my own personal experience Going through that system, but coming across people who often, in many cases, had less charges than me and a lot more time. And to be clear, we're talking about a lot of black and brown people. It was just so apparent how racist and unjust that system is. And so, so much about my work is revealing those systems as independent artist. But when I came home and I was included in exhibitions that were dealing with themes of incarceration, I was often the only directly impacted artist in those exhibitions. And it was just, you know, it was kind of jarring to me. And I recognized that we really need to create a space where all of these amazing people who are currently incarcerated or formerly incarcerated have the opportunities to show their own artwork and speak on their own behalf in order to advocate for the ending of mass incarceration.

[Alison Stewart]

Yeah, I was going to say, like, why is having a space really important for the center for Art and Advocacy? Why was a space really important?

[Jesse Crimes]

So if you think about it, many of our artists have lost literal decades of their life behind bars in a system that is designed to very publicly erase you from society. And. And, you know, since we've been funding artists since 2016, all across the country, you know, they're making incredible work. They're in Tennessee, Alabama, Texas. And it's often very hard when you think about being formally incarcerated, Just surviving on a basic level, let alone trying to build a practice around visibility and your. And your creative practice. And so it just became very apparent and important that we needed a place, particularly in New York City, which is in many ways the epicenter of the art world, to really showcase the work that these artists are making from across the country.

[Alison Stewart]

What did you want from the space? When you guys were sitting down and doing the plans and making the pros and the cons lists, what did you want the space to have?

[Jesse Crimes]

I think, at the core, because we fund every creative discipline, so we fund not just visual artists, but performance artists, creative writers, poets, filmmakers. We really wanted from the outset to think about how to design a space that puts all of those different creative practices on equal footing. And so that was really important to us. And so we designed the space. We worked with this amazing architect, Karai Dunham, and he basically came up with this idea of building movable walls. One of them has a screen and a projector that's hidden in them so they can function to showcase artwork. They can divide the space in different ways to make more intimate spaces for film screenings or poetry readings. And so it was just really important that we were able to accommodate Our artists with the level of respect that they deserve. And then simultaneously, it was important to open it in Bed Stuy because it's a heavily impacted community in New York City. And that's so much of the work that we do. And we wanted to be kind of housed in an area where it felt very important for people to be able to come and engage with our artists.

[Alison Stewart]

So if I walk in there right now, what am I going to see?

[Jesse Crimes]

So you're going to see some of the best artwork in the country. We currently have a show up called Collective Jesters, which is featuring 35 of our fellows that we funded. And again, it's everything from massive poetry printed on the wall to a reading section featuring Mitchell Jack, Dwayne Betts and Felita Hicks. And as you enter into the space, there is artwork on the walls, there are video monitors with headphones showcasing our filmmakers. But it's really this kind of broad exhibition, and we organized it in a way where we didn't really have a kind of theme that we were specifically trying to highlight. We just asked our artists, what are you most interested in showing? And trusted that the works that they were making in and of this moment would reveal a theme in itself. And it did not disappoint. And so there are so many aspects of the work that are speaking and engaging with each other as you move through the space. And I think that's really a testament to the community that we've built, where people are sharing ideas, they're connecting, they're grappling with different issues across the country. And I think that's very apparent as you kind of move through the exhibition, that this is a movement of artists who are very deeply connected and in community with each other.

[Alison Stewart]

So how do you balance your practice as an artist with your. You know, you're the founder and director of the center for Art and Advocacy. That takes a lot of time, but also, so does making art.

[Jesse Crimes]

Yeah, it's tricky. You know, I. I try to prioritize things the best that I can. And so last year in particular was a very big year where I had.

[Alison Stewart]

Such a huge year for you.

[Jesse Crimes]

Yeah, I had my solo show that's currently up at the Met, and I produced a massive new work for that exhibition. And then I also had in that same week, a solo show opening at Jack Shaming Gallery. And so I was producing brand new shows. And a few months later, the Center Space in Brooklyn was opening. And so, to put it lightly, I got very few hours of sleep for quite a long time. But I Think moving forward, it's relying on the staff that we're building out with the organization. We have an amazing new deputy director, Carly Fisher, who is just, I mean, absolutely brilliant in how she understands the work that we're doing and what is necessary. And so, you know, trying to. Trying to do a better job of delegating and trusting the brilliance that we have around us.

[Alison Stewart]

My guest is artist Jesse Crimes. He opened the center for Art and Advocacy, an organization he founded, which supports artists affected by incarceration. It said Bed Stuy at 22 Bancroft Place. He also has his own exhibition currently on view at the Met. It's called Jesse Crimes Corrections. It's on view through July 13th. First of all, not many people get to have shows at the Met.

[Jesse Crimes]

Yeah, it's still a bit surreal.

[Alison Stewart]

What was your first reaction when you first saw your work on view with the Met?

[Jesse Crimes]

I just remember thinking, like, you know, as someone who has been very intentionally erased from public view and thinking about the histories of prisons and museums and how they really kind of develop side by side. And one is an institution that is built to showcase what we value inside the walls, and the other is an institution built to be a place of what we. To house what we deem as disposable. And so I remember walking in there and just, you know, the juxtaposition from having been erased from society for over half a decade and being able to walk into a building like the Metropolitan Museum of Art and have my work on display there, I just. I fully felt the weight of what it meant to be seen and, like, the importance of hanging on those walls. And so it was just a very profound moment, not just for me as an individual, but for what I think my work represents writ large. And to have that be valued at the most prestigious institution in the country, I think sends a very strong signal that not just my work, but the work of directly impacted artists across the country is something that is culturally important and significant for society.

[Alison Stewart]

Do you remember the first time you went to the Met?

[Jesse Crimes]

I do. I think it was on, like, it was like, a class trip in high school. And I just remember going there and being shocked at the size of the museum itself, but then also, like the individual works and the textures and the layerings of paint and different materials and the scale of the works, it was actually radically transformative for. For me as an artist.

[Alison Stewart]

When did you first develop an interest in art?

[Jesse Crimes]

I think I was. I was always a maker, ever since I was young. I just, you know, I did, you.

[Alison Stewart]

Know, being an Artist?

[Jesse Crimes]

No, no, no. So I had no idea what it meant to be an artist. But, you know, in the same way that I was, like, creating work in, in prison and in solitary confinement when I was young, you know, I was since the age of 13, I've transitioned through nearly every facet of our criminal justice system. And even before that, I grew up quite poor with a single mother. And, you know, making was always just one of those spaces that felt safe to me, and it felt like a place where I had autonomy. And so I think I was always a maker, but I never had any idea of what it actually meant to be a practicing artist in the world.

[Alison Stewart]

Let's take a call. This is David calling in from Brooklyn, and he has something he wants to share with you. Jesse. Hey, David, thank you so much for calling all of it.

[David]

Yeah. Hi, Alison. Appreciate this segment. And Jesse, everything that you do with your organization. I'm a sculptor in Brooklyn, and when I was a teenager in Tennessee, I, at the age of 15, went into juvie. And at that time in the 80s, they put you into general population when you turn 16. So I spent about two years of my teenage life in a general population prison in Tennessee. But for a long time, I never felt like I could talk about that, especially when later on I went to art school, grad school. And so the ability to be able to see you bring this opportunity for artists to have exhibitions, have money to be able to fund what they're doing is really amazing. It's something I never thought would happen. And I really appreciate what you're doing with Write a Return. It's something that I've applied to a few times. And it's really great work that you're doing out there.

[Alison Stewart]

David, thanks for calling in. What do you think about that?

[Jesse Crimes]

I really appreciate hearing that. And one, David, I'm sorry that you went through that experience. Unfortunately, it's not as uncommon as people think.

[Alison Stewart]

Yeah.

[Jesse Crimes]

And I think that, you know, in many ways, you know, it's important, I think, in this moment to not just create work and think about the experience of being incarcerated not just as a wound, but as a monument. Right. This is, in my mind, incarceration is the epicenter of every social crisis that's happening in the country. And so, you know, whether you're a young person and you're being met with police in prisons instead of mental health or drug addiction services or whatever those services are, the carceral system is the single largest expenditure of any local government in the name of justice and safety. And we know that that's not what it's doing. And so, you know, it's really important to think about how we can build support systems and structures outside of these carceral spaces and create the space where people feel comfortable talking about these experiences. And I think artwork is a powerful medium to do that because it serves not just as an expression of an individual in that experience, but it also can function and speak on your behalf even when you're not there. And so I think David's story is actually really inspiring to hear that people feel more comfortable being able to talk about that, because it's actually the thing that's very necessary moving forward in order for us to heal.

[Alison Stewart]

So you were incarcerated for six years. You were held in solitary confinement. When you first were released, Was it harder to talk about than it is now?

[Jesse Crimes]

It was.

[Alison Stewart]

Why do you think? What has changed in the past decade?

[Jesse Crimes]

I think a lot has. And so I remember when I first came home, the term mass incarceration hadn't even entered the public lexicon at that point. And so I think, you know, there was a lot of stigma still associated around coming home from prison. But simultaneously, you know, we had Michelle Alexander's the New Jim Crow was published. Ava DuVernay made the 13th. I think people started having these conversations in a much more public way. And so, for me, that also was a signal that this is something that culturally we are grappling with as a society, and that this is actually a very profound opportunity to utilize artwork and the creative practice to have these conversations. And so in the beginning, I was very nervous talking. I think you can hear it. I gave, like, a TEDx talk when I first came home to, like, 2,000 people, and my voice was just crackly. And I look back at that and cringe. But, you know, I think, listen, it's important. This is necessary. And I feel a particular responsibility to use whatever platforms and opportunities I get to be able to advocate for ending mass incarceration. And not just ending it, but supporting systems and structures that actually benefit people and not punish them.

[Alison Stewart]

Because I know you're a little bit introverted.

[Jesse Crimes]

I'm very introverted.

[Alison Stewart]

So you get on the radio and you talk about this. You go up in front of rooms and you talk about it. What gets you motivated at the beginning of every day?

[Jesse Crimes]

Honestly, I think just all of my friends and loved ones who I know are still inside. And so I know in many ways, I'm lucky to have the opportunity to be out here, to be in spaces where people provide a platform they invite me in to speak. And I think the thing that motivates me and keeps me as ambitious as I am in terms of my practice and what I'm trying to build for others is that, you know, we still have almost 2 million people who are incarcerated. And I think particularly in this cultural moment when cultural institutions are under attack, simultaneously the carceral institutions are expanding. And you know, these are things that have been kind of hard fought for decades and decades and we're seeing a kind of pendulum swing back. And so I think now is like a very important time. And there's an urgency and a necessity to support directly impacted artists, to talk about what's happening and to really reclaim the narrative and control it in a way that highlights the dignity and humanity of the people that we're actually talking about.

[Alison Stewart]

I've been talking to Jesse Crimes. You check out the center for Art and Advocacy. It's in bed Stuy at 22 Bancroft Place. And then you should check out his exhibition on view at the Met. It's called Jesse crimes Corrections through July 13th. And more to come from you at Jack Shayman Gallery soon.

[Jesse Crimes]

Yes, yes. I don't know exact date yet, but sometime I'm trying to take a little bit of a break and then, you know, maybe in the next year or two.

[Alison Stewart]

Jesse, thanks for coming in.

[Jesse Crimes]

I appreciate it. Thank you so much.

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