From Prison to Prestige: Jesse Krimes’ Purgatory Finds a Home at the Met
Jesse Krimes remembers the despair he felt every time he was forced to stand for a mug shot. “My image was being captured at perhaps one of the lowest moments in my life,” he said. “It’s like you’re almost performing criminality for the photographer, as like a protective measure.As a way of putting armor on, knowing that you’re going into this very traumatizing, risky situation.”
From 2009 to 2010, Krimes spent a year in solitary confinement at south Jersey’s fairton Federal Correctional institution, awaiting trial on drug possession charges. His only connection to the outside world came through newspapers, where he saw hundreds of mug shots. These images,he realized,captured people at their most vulnerable,memorializing them on the worst days of their lives.
In response, Krimes began collecting mug shots and headshots of politicians and celebrities—300 in total—and transferred them onto small pieces of prison-issued soap. This methodical process,which he described as “removing them from these damaging narratives and almost cleansing,or repurposing,them,” became the foundation of his artwork,Purgatory (2009).
Smuggling the piece out of prison was no small feat. Each soap portrait was hidden in stacks of playing cards, cut into tiny frames using a tool he crafted from a deconstructed battery. In place of kings and queens were these “offenders,” their faded faces now adorning the prestigious halls of New York’s Metropolitan Museum of Art.
In 2024, the met acquired Purgatory, marking the institution’s first acquisition of a work by a living artist who was previously incarcerated. This milestone is a testament to krimes’ resilience and the transformative power of art.
After his release in 2013, Krimes’ artistic career blossomed. The Philadelphia-based artist became a major advocate for formerly incarcerated artists, championing racial justice and the end of mass incarceration. In 2023, lisa Sutcliffe, a curator of photography at the Met, approached him about a potential exhibit.
The resulting exhibition,Jesse Krimes: Corrections,runs through July 13,2025. It places Purgatory alongside 19th-century photographs by Alphonse Bertillon,the French criminologist who invented the modern mug shot. The black-and-white images capture alleged anarchists, from journalists to restaurateurs, convicted of crimes ranging from pick-pocketing to bombings.
Sutcliffe saw the potential in juxtaposing Krimes’ work with Bertillon’s historic images. “It’s really important for institutions that house collections of art to think about how they can be a resource for people who are returning from prison,not just artists,” she said.
Krimes’ journey from incarceration to artistic acclaim is a powerful reminder of the human capacity for reinvention. His work challenges us to reconsider the narratives we attach to individuals and the systems that perpetuate them.
| Key Highlights |
|———————|
| Artwork | Purgatory (2009) |
| Medium | Prison-issued soap, newspaper images |
| Exhibition | Jesse Krimes: Corrections at the Met |
| Dates | October 28, 2024 – July 13, 2025 |
| Significance | First met acquisition by a living, formerly incarcerated artist |
Krimes’ story is a call to action for institutions and individuals alike to rethink the role of art in society. As Purgatory takes its place in the Met’s collection, it invites us to reflect on the power of creativity to transform lives and challenge systems of oppression.
For more on Jesse Krimes’ journey, visit his artistic career blossomed and explore the met’s exhibition details.
Jesse Krimes’ Art: A Powerful Commentary on Mass Incarceration and Humanity
Table of Contents
- Jesse Krimes’ Art: A Powerful Commentary on Mass Incarceration and Humanity
- Jesse Krimes’ art: A Labyrinth of Resilience and Liberation
- The Thread of Resistance
- A Web of Liberation
- Exhibition Details
- The Power of Corrections
- Apokaluptein:16389067: A Journey Through Heaven, Earth, and Hell
- Naxos: A Symbol of Individuality
- Unicorn: The Punitive Urge
- The Role of Art in Restoring Humanity
- Key Highlights of Jesse Krimes’ Work
- A Call to Action
- Jesse Krimes’ Art: A Labyrinth of Resilience and Liberation
Jesse Krimes, an artist whose work is deeply rooted in his experiences with the justice system, is redefining the conversation around mass incarceration through his thought-provoking art. His latest exhibition, Corrections, at the Metropolitan Museum of art, showcases his ability to transform personal trauma into global narratives that challenge societal norms.
The Heart of Corrections: apokaluptein and Naxos
at the center of Corrections is Apokaluptein:16389067,a massive mural created on 39 contraband bed sheets that Krimes smuggled out of prison piece by piece. The work, which took three years to complete, uses a unique technique of transferring newspaper images with hair gel. The result is a haunting meditation on capitalism, commercialism, and media coverage, depicting heaven, earth, and hell in a fragmented, overwhelming composition.
Opposite Apokaluptein hangs Naxos, a 40-by-15-foot installation featuring roughly 10,000 pebbles suspended from thin strings. Inspired by Carl Jung’s analogy about the futility of reducing individuals to averages, Krimes asked incarcerated individuals to send him what they considered an “ideal pebble” from prison yards across the country. Each pebble symbolizes the uniqueness of a person, challenging the dehumanizing statistics often associated with mass incarceration.
“Naxos talks about averages and ideals and how those things don’t actually capture the uniqueness of an individual or an identity or a person,” said Krimes. “That pebble becomes like a symbolic representation of that individual.”
Beyond Corrections: Unicorn and the Punitive Urge
Krimes’ artistic crusade extends beyond Corrections. his recent work, Unicorn (2024), is an 8-foot-high by 26-foot-wide embroidered piece made from used clothing collected from currently or formerly incarcerated individuals. The piece features layered images of animals from art history, depicted as caged or hunted, including references to the medieval Hunt of the Unicorn tapestry series displayed at the met Cloisters.
“It’s this idea of this magical, mythical creature whose horn can purify water, and a bunch of men just want to go out and kill it. There’s this punitive urge to kill the unicorn.[[[[Unicorn]captures this essence of what punitive ideology is and how it’s just so enmeshed in our culture,” Krimes explained.
The Role of Art in Restoring Humanity
Krimes’ work is not just a critique of the justice system but also a call to restore humanity to those who have been dehumanized. As Sutcliffe, a collaborator on the project, noted, “They’re places that help to platform conversations that can be more difficult, and the Met can be a really great resource for reminding people of their own humanity and the humanity of those for whom that has been taken away.”
Key Highlights of Jesse Krimes’ work
| Artwork | Dimensions | Materials | Themes |
|————————-|———————-|—————————————-|—————————————————————————-|
| Apokaluptein:16389067 | 39 contraband sheets | Newspaper images, hair gel | Capitalism, commercialism, media coverage, heaven, earth, hell |
| Naxos | 40 ft x 15 ft | 10,000 pebbles, strings | Mass incarceration, individuality, Carl Jung’s analogy |
| Unicorn | 8 ft x 26 ft | Used clothing, embroidery | Punitive ideology, animal symbolism, hunt of the Unicorn tapestry series |
A Call to action
Krimes’ art invites viewers to reflect on the systemic issues of mass incarceration and punitive ideologies. By engaging with his work, we are reminded of the humanity that frequently enough gets lost in the statistics and stereotypes. Visit the Corrections exhibition at the Met to experience this powerful narrative firsthand and join the conversation about justice, individuality, and redemption.
For more on the Hunt of the Unicorn tapestry series, explore its history and symbolism here.
Krimes’ art is not just a visual experience but a profound commentary on the world we live in. Let it inspire you to see beyond the averages and ideals, and to recognize the unique humanity in every individual.
Jesse Krimes’ art: A Labyrinth of Resilience and Liberation
Jesse Krimes, the visionary artist behind the acclaimed Rikers Quilt, continues to captivate audiences with his latest exhibition, Corrections, now on display at The Met Fifth Avenue in New York. His work, a profound exploration of resilience and resistance, delves into the lives of those marginalized by society’s punitive systems. Through intricate sculptures and layered narratives, Krimes weaves a tale of liberation, drawing inspiration from ancient myths and the lived experiences of incarcerated individuals.
The Thread of Resistance
Krimes’ art is a celebration of “the resilience and resistance of people who find themselves on the pointed end of” society’s urge to continually punish and torture. His new works, including Minos and the Minotaur, Theseus’ Throne, and Ariadne’s Dancing Ground I - XIII, mark a departure from the flatness of his earlier quilts and wall pieces. These sculptural forms, crafted using pebbles collected from incarcerated individuals, reimagine the myth of Theseus and the Minotaur.
In the myth, Theseus navigates King Minos’ labyrinth with the help of Ariadne’s ball of string, slaying the monstrous Minotaur and liberating Athens from tyranny. Krimes’ interpretation mirrors this journey, symbolizing the struggle and eventual triumph of those trapped in society’s metaphorical labyrinths. “There’s something really powerful about the images of these animals that capture this idea of resistance and power and strength in opposition to these harmful,punitive approaches,” Krimes explains.
A Web of Liberation
Krimes’ embroidered works mimic the patterns of microscopic images of organs infected by cancer. However, in his art, the malignant tumors are removed, and the lines diverge to form patterns of healthy cells. This transformation symbolizes healing and liberation, a recurring theme in his work.
His pieces are spectacles—overwhelming in scale and shape, with layers of meaning, references, and images. As Krimes unravels his own “ball of string,” he creates a neural network of roads built with the life and blood of those society relegates to its borders. “The world is full of cages,” he reflects,“and the only way out is through this circuitous web of thread that may look fragile but will ultimately liberate everyone in its wake.”
Exhibition Details
Jesse Krimes: Corrections is a must-see exhibition that challenges viewers to confront the realities of incarceration and the power of resilience. The exhibition runs through July 13 at The Met Fifth Avenue, 1000 Fifth Ave., New York.For more information, visit metmuseum.org/exhibitions/jesse-krimes-corrections.| Key Highlights of Jesse Krimes: Corrections |
|————————————————–|
| Exhibition Dates: Through July 13 |
| Location: the Met Fifth Avenue, New York |
| Featured Works: Minos and the Minotaur, Theseus’ Throne, Ariadne’s Dancing Ground I – XIII |
| Themes: resilience, resistance, liberation |
| Materials: Pebbles collected from incarcerated individuals |
Krimes’ art is not just a visual experience but a call to action. It invites us to reflect on the cages we build—both literal and metaphorical—and the fragile yet enduring threads that can lead us to freedom. Don’t miss this transformative exhibition at The Met. Plan your visit today and immerse yourself in the labyrinth of Jesse Krimes’ world.
Of resilience and a testament to the human spirit’s ability to endure and transcend adversity.His work is deeply rooted in his own experiences with the criminal justice system, having served six years in federal prison. During this time, Krimes turned to art as a means of survival and self-expression, creating pieces that not only reflected his personal journey but also shed light on the broader systemic issues of mass incarceration.
The Power of Corrections
The Corrections exhibition is a powerful statement on the dehumanizing effects of the prison industrial complex. At its core, the exhibition challenges viewers to confront the realities of incarceration and the ways in which society often reduces individuals to mere statistics. Through his art, Krimes seeks to restore the humanity of those who have been stripped of it, offering a platform for their voices and stories to be heard.
Apokaluptein:16389067: A Journey Through Heaven, Earth, and Hell
one of the most striking pieces in the exhibition is Apokaluptein:16389067, a monumental mural created on 39 contraband bed sheets that Krimes smuggled out of prison. the work, which took three years to complete, is a haunting meditation on capitalism, commercialism, and media coverage. Using a unique technique of transferring newspaper images with hair gel, Krimes creates a fragmented, overwhelming composition that depicts heaven, earth, and hell. The mural serves as a visual representation of the chaos and complexity of the prison experience, as well as a critique of the societal structures that perpetuate it.
Naxos: A Symbol of Individuality
Opposite Apokaluptein hangs Naxos, a 40-by-15-foot installation featuring roughly 10,000 pebbles suspended from thin strings. Inspired by Carl Jung’s analogy about the futility of reducing individuals to averages, Krimes asked incarcerated individuals to send him what they considered an “ideal pebble” from prison yards across the country. Each pebble symbolizes the uniqueness of a person, challenging the dehumanizing statistics frequently enough associated with mass incarceration. The installation is a poignant reminder of the individuality and humanity of those who are often reduced to numbers in the criminal justice system.
Unicorn: The Punitive Urge
Krimes’ recent work, Unicorn (2024), is an 8-foot-high by 26-foot-wide embroidered piece made from used clothing collected from currently or formerly incarcerated individuals. The piece features layered images of animals from art history, depicted as caged or hunted, including references to the medieval Hunt of the Unicorn tapestry series displayed at the Met Cloisters. Unicorn captures the essence of punitive ideology and its deep entrenchment in our culture. as Krimes explains, “It’s this idea of this magical, mythical creature whose horn can purify water, and a bunch of men just want to go out and kill it. There’s this punitive urge to kill the unicorn.”
The Role of Art in Restoring Humanity
Krimes’ work is not just a critique of the justice system but also a call to restore humanity to those who have been dehumanized. As Sutcliffe, a collaborator on the project, noted, “they’re places that help to platform conversations that can be more difficult, and the Met can be a really great resource for reminding people of their own humanity and the humanity of those for whom that has been taken away.”
Key Highlights of Jesse Krimes’ Work
| Artwork | Dimensions | Materials | Themes |
|————————-|———————-|—————————————-|—————————————————————————-|
| apokaluptein:16389067 | 39 contraband sheets | Newspaper images, hair gel | Capitalism, commercialism, media coverage, heaven, earth, hell |
| Naxos | 40 ft x 15 ft | 10,000 pebbles, strings | Mass incarceration, individuality, Carl Jung’s analogy |
| Unicorn | 8 ft x 26 ft | Used clothing, embroidery | Punitive ideology, animal symbolism, Hunt of the Unicorn tapestry series |
A Call to Action
Krimes’ art invites viewers to reflect on the systemic issues of mass incarceration and punitive ideologies.By engaging with his work, we are reminded of the humanity that frequently gets lost in the statistics and stereotypes.Visit the Corrections exhibition at the Met to experience this powerful narrative firsthand and join the conversation about justice, individuality, and redemption.
For more on the Hunt of the Unicorn tapestry series, explore its history and symbolism here.
Krimes’ art is not just a visual experience but a profound commentary on the world we live in. Let it inspire you to see beyond the averages and ideals, and to recognize the unique humanity in every individual.
Jesse Krimes’ Art: A Labyrinth of Resilience and Liberation
Jesse Krimes, the visionary artist behind the acclaimed Rikers Quilt, continues to captivate audiences with his latest exhibition, Corrections, now on display at The Met Fifth Avenue in New York. His work, a profound exploration of resilience and resistance, delves into the lives of those marginalized by society’s punitive systems. Through intricate sculptures and layered narratives, Krimes weaves a tale of liberation, drawing inspiration from ancient myths and the lived experiences of incarcerated individuals.
The Thread of Resistance
Krimes’ art is a celebration of resilience and a testament to the human spirit’s ability to endure and transcend adversity. His work is deeply rooted in his own experiences with the criminal justice system, having served six years in federal prison. During this time, Krimes turned to art as a means of survival and self-expression, creating pieces that not only reflected his personal journey but also shed light on the broader systemic issues of mass incarceration.
The Power of corrections
The Corrections exhibition is a powerful statement on the dehumanizing effects of the prison industrial complex. At its core, the exhibition challenges viewers to confront the realities of incarceration and the ways in which society often reduces individuals to mere statistics. Through his art, Krimes seeks to restore the humanity of those who have been stripped of it, offering a platform for their voices and stories to be heard.
Apokaluptein:16389067: A Journey Through Heaven, Earth, and Hell
One of the most striking pieces in the exhibition is Apokaluptein:16389067, a monumental mural created on 39 contraband bed sheets that Krimes smuggled out of prison. The work, which took three years to complete, is a haunting meditation on capitalism, commercialism, and media coverage. Using a unique technique of transferring newspaper images with hair gel, Krimes creates a fragmented, overwhelming composition that depicts heaven, earth, and hell. The mural serves as a visual representation of the chaos and complexity of the prison experience, and also a critique of the societal structures that perpetuate it.
Naxos: A Symbol of Individuality
Opposite Apokaluptein hangs Naxos, a 40-by-15-foot installation featuring roughly 10,000 pebbles suspended from thin strings. Inspired by Carl Jung’s analogy about the futility of reducing individuals to averages, Krimes asked incarcerated individuals to send him what they considered an “ideal pebble” from prison yards across the country. Each pebble symbolizes the uniqueness of a person, challenging the dehumanizing statistics often associated with mass incarceration. The installation is a poignant reminder of the individuality and humanity of those who are often reduced to numbers in the criminal justice system.
Unicorn: The Punitive Urge
Krimes’ recent work, Unicorn (2024), is an 8-foot-high by 26-foot-wide embroidered piece made from used clothing collected from currently or formerly incarcerated individuals. The piece features layered images of animals from art history, depicted as caged or hunted, including references to the medieval Hunt of the Unicorn tapestry series displayed at the Met Cloisters. Unicorn captures the essence of punitive ideology and its deep entrenchment in our culture. As Krimes explains, “It’s this idea of this magical, mythical creature whose horn can purify water, and a bunch of men just want to go out and kill it. there’s this punitive urge to kill the unicorn.”
The Role of Art in restoring Humanity
krimes’ work is not just a critique of the justice system but also a call to restore humanity to those who have been dehumanized. As Sutcliffe, a collaborator on the project, noted, “They’re places that help to platform conversations that can be more difficult, and the Met can
