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FERGUSON, THE ZINE
David Butow is raising cash on Kickstarter to fund the printing of a zine of his images made in Ferguson over the past 3 months. The images have been made, the edit done and the sequencing finalised. I’ve seen a PDF of Ferguson and it is a zine that is taut and emotional. It is also quite different from other projects I’ve seen coming out of Ferguson. Many of the scenes framed by Butow have multiple vignettes playing out in them all at once. They’re considered and crafted images. It’s both a photographers’ photography project and a statement relevant to all. It works as art and as political marker. It is relevant to documentarians and also, I think, will stand up to the test of time.
Butow travelled to Ferguson twice — once after Michael Brown’s death and once after the grand jury decision not to indict Darren Wilson. As well as 34 photographs, Ferguson also includes raw interview transcripts used in the grand jury deliberations. One offers a nuanced view of the neighborhood where the shooting took place and of Michael Brown himself.
“The work goes beyond the violence to offer an intimate and emotional portrait of the community’s reaction – from conflict to prayer – and puts the meaning of what occurred in Ferguson in historical context,” says Butow.
Printed in California, using recycled paper and inks.
64 pages, 34 original B&W photographs.
8.5″ x 11″
Stuart Griffiths was a kid when he went to Northern Ireland, in 1988, as a fresh recruit of the British Army. His first Christmas as an adult was spent on base. He dropped a tab of acid.
In the book Pigs’ Disco, Griffiths details his time serving for queen and country, his fear, boredom and struggle see what could possibly follow. I wrote about the body of work for Vantage, the new photography “collection’ published by Medium.
“At the turn of the nineties, Britain reveled in rave culture. From Bognor to Bangor, loved-up youth danced until dawn in clubs and beyond. A decade before cell phones, pill-popping kids were convening mass-raves in farmers’ fields and empty warehouses by word of mouth.
If there was one place you’d think this euphoric wave could not breach, it’d be the barracks of the British Army. But you’d be wrong. Pigs’ Disco details Griffiths’ drug addled misadventures from 1988 to 1993 while stationed, for the most part, in Northern Ireland as a paratrooper with Her Majesty’s finest.”
Read the full story: Tripping On Acid While In Her Majesty’s Service (Medium)
The book Pigs’ Disco, by Stuart Griffiths is published by Ditto Press.
As some of you might be aware, I recently moved down the west coast from Portland to San Francisco. Just as I focused on local artists back then, so too I’ll be peppering Prison Photography with features of local Bay Area photographers.
Kirk Crippens is a long time friend. I saw his latest show on opening night and I thought it was responsible and heartfelt. I have never been to Bayview Hunters Point which is the focus of Crippens’ series The Point. I am curious but as with many of the outlying SF neighbourhoods, I’ve never had a reason arise to visit. Which says a lot in itself of boundaries within even the same city. Bayview is home to one of my favourite newspapers. The SF Bayview reports on prison issues when virtually no one else is seeing the abuses occurring in our prison system. That’s an aside; on to the article proper
While reflecting on the African-American community of San Francisco, James Baldwin once said, “This is the San Francisco that Americans pretend does not exist.” The Bayview-Hunters Point district is a predominantly Black neighbourhood and, for years, has been isolated from the rest of the city and cited as a significant example of urban marginalization.
While other photography projects focus on the tougher, negative aspects of Bayview-Hunters Point, photographer Kirk Crippens took a slower and more reflexive approach to his interactions with a neighbourhood he admittedly knew next-to-nothing about prior to working on The Point which is a collection of portraits and interior domestic scenes.
The Point is currently on show at San Francisco City Hall. It includes not only dozens of portraits and interior shots made by Crippens but also family photographs to those in his portraits. It’s a lovely balance and a special production for this exhibition The Point: Kirk Crippens in collaboration with the Bayview-Hunters Point Community (Nov 15th – Feb 27th, 2015).
The Point celebrates the generations who have called Bayview home — “the kings and queens of Bayview-Hunters Point” as Crippens describes them.
In early 2011, Crippens walked into the Providence Baptist Church, established in Bayview in the early 1940s. The congregation welcomed him, shook his hand, remembered his name. Crippens described his task of photographing the community to the pastor. Subsequently, meetings were set up with respected individuals of the community who worked with Crippens to realise a shared vision.
“At a time when San Francisco continues to grapple with the distressing trend of the out-migration of the African-American community, it’s more important than ever that we bring this exhibit to City Hall,” says Tom DeCaigny, San Francisco Director of Cultural Affairs.
Located at the southeastern corner of San Francisco, the Bayview-Hunters Point neighborhood was considered to be one of the last remaining San Francisco neighborhood left untouched by developers. However, with the completion of the Muni Metro T Third Street line in 2007, the first new light-rail line in San Francisco in more than half a century, and other plans on the horizon, Bayview-Hunters Point has recently become a focal point for recent redevelopment projects.
“Gentrification” is the word on everyone’s lips.
I wanted to find out a bit more, so I asked Kirk a few questions.
Scroll down for our Q&A.
Prison Photography (PP): What did you know of Bayview-Hunters Point before photographing?
Kirk Crippens (KC): Not much. Not until late 2010, when an email invitation to work on a project in the community arrived. I had an intuition I should accept the project. I began exploring the neighborhood, but my first photographs reflected my perspective of an outsider. I was wandering the perimeter of a community.
PP: What do you know now?
KC: I know ways to connect with a community. I needed to connect in a significant way in order for the project to assume some power and relevance. In early 2011, I walked into Providence Baptist Church. My life changed that Sunday morning; the Church became the lens through which I learned about and connected with the community.
I know about the beauty and solidity of the multi-generational bonds that run through the neighborhood.
Bayview-Hunters Point is the focus of redevelopment projects. The Hunters Point Naval Shipyard, a superfund site requiring years of radioactive pollution cleanup, is being targeted for 10,500 new homes and close to 4 million square feet of commercial and retail space. The Point is on its way to becoming another coveted San Francisco zip code. While the African-American community watches its neighborhood transform, gentrification threatens to undermine its way of life. Displacement is underway in this historic African-American district.
PP: The church was your entry point into the community. Do you think the people and homes that access point provided allowed you to make a representative portrait of the neighborhood?
KC: It would be hard for someone to make a representative portrait of any neighborhood, so I’ll answer no. What I have done is reflect a vibrant segment of the community. Is it representative, probably not? Is it significant, yes — this aspect of the Bayview-Hunters Point neighborhood is not often celebrated or recognized.
Other photography projects focus on the gritty, troubled aspects that come from oppression and economic struggle, The Point is a collaboration with the Bayview-Hunters Point community.
PP: How has the work been received in San Francisco?
KC: I’m honored to say well. The exhibition opened at RayKo Gallery in September and was immediately booked by the San Francisco Arts Commission for a 3-and-a-half month exhibition at San Francisco City Hall.
PP: Your current exhibit at San Francisco City Hall features (beautifully framed) family pictures form the albums of the folks in your formal portraits. Why did you decide to pair the two types of image?
KC: A desire to connect further with the community. The director of the San Francisco Arts Commission Galleries, Meg Shiffler and I had a meeting to discuss ways to enlarge the exhibition. We took inspiration from a previous exhibition at the SF Library that featured family photographs from Bayview. We then asked my friends and contacts if they had historic and family photos for the exhibition.
We were overwhelmed by the generosity and interest that came from the community. In the end we added 60+ historic and family photos and interspersed them with large 36 pieces from my work. It changed the project into a collaboration.
PP: Change is afoot in Bayview Hunters Point, as it is in all of San Francisco. What do you think the future has in store for the community there?
KC: The future of The Point is being created during these transformative years of redevelopment. I suspect the community will look quite different in 20-30 years, and not all for the best. I don’t want to speculate on what will or might be, and I certainly don’t want the friends and adopted family I’ve found in Bayview to see their community displaced, but I see mighty changes underway and everyone is bracing for them.
PP: Thanks, Kirk.
KC: Thank you, Pete.
Kirk Crippens is an American artist living in the San Francisco Bay Area. He had an early start with photography, inspired by his grandfather who kept a darkroom in his closet. Based in San Francisco since 2000, he began exhibiting in 2008. He was named a Top 50 Photographer in Critical Mass in 2010 and 2011, nominated for the Eureka Fellowship Program, invited to speak during PhotoAlliance’s Spring Lecture series at the San Francisco Art Institute, and was a finalist for Photolucida’s book prize.
Crippens has been an artist-in-residence at both RayKo Photo Center in San Francisco and Newspace Center for Photography in Portland, Oregon. His portfolio Foreclosure, USA was recently acquired by the Crystal Bridges Museum of American Art in Bentonville, Arkansas and can be seen in their current exhibition State of the Art, Discovering American Art Now.
He currently serves on an arts board in Bayview Hunters Point. Providence Baptist Church has become his home away from home.
HERE PRESS has done it again; it has produced a book that allows us an irresistible glimpse into foreign space and psychology. 2041 is a collection of self-portraits, made by a man, donning makeshift burqas and niqabs, in his home in England.
The title 2041 refers to the name by which the man is known. “2041” made thousands of images with the express intent to share them online with fellow full-coverage enthusiasts.
“Using the camera to articulate a passion he has secretly indulged for decades, the artist appears dozens of times without ever disclosing his image or identity,” says the HERE press release. “Long before 2041 bought his first real burqa online, he began crafting his own versions from draped and folded fabrics in a rich array of textures and colours … ranging from the traditional to the theatrical.”
2041 is part of a connected online community of men and women from across Western Europe and the Gulf States. They are Christians, Muslims and without religion.
This is a gripping book and look into a world that cannot be fully known, nor can be fully verified. What is interesting, therefore, is that without identifiable subjects, the veracity of photography collapses. Or, at the least, we have to completely shift our expectations about what photography provides. The book 2041 is working on, and with, many levels. There’s a motivation by HERE to celebrate photography by revealing its limits and capacity. Despite a reliance on images to connect themselves, 2041 and his cohorts are inhabiting the unphotographable.
As such, 2041 is a playful but earnest exposé of the photographic medium as much as it is this small web of like-minded folks.
A similar type of mood persists in previous titles by HERE. Harry Hardie and Ben Weaver skirt the outer territories of our photo-landscape and delineate the edges. Edmund Clark’s Control Order House took us inside the ordinary domestic spaces of a terror suspect under house arrest. Power was described precisely by what was not photographed. Jason Lazarus’ Nirvana took us into grunge-infused personal histories; the photographs were just a foil to get subjects feting up about beautiful and traumatic pasts.
I, for one, am getting quite excited by HERE’s growing catalogue of ever-so-slightly-disconcerting photobooks.
Between the internet and the veil 2041’s anonymity folds and billows. He remembers the enveloping cassocks and cottas he wore as a choirboy. As an adult, he moved toward total covering. In the early millennium, 2041 his bought his first computer and plugged into an online community that shared his passion.
“What almost all [of the people covering themselves] seem to crave is transcendence of the physical self – or at least being judged on the physical – coupled with the excitement of observing the world unseen, safely cocooned in luxuriant fabrics,” says HERE. “This is the burqa seen in a celebratory light.”
Naturally, I have lots of questions so I dropped Harry at HERE PRESS a line. He put me in touch with Lewis Chaplin who is co-founder of Fourteen Nineteen, but more importantly co-editor of 2041.
Scroll down for our Q&A
Prison Photography (PP): Where did you first see and hear about 2041’s photographs?
Lewis Chaplin (LC): I first found these images almost four years ago, while researching emergent subcultures of fetishists/obsessives who were finding community and likemindedness through the internet. Many of these people use Flickr in particular to indulge in their private desires, and it was here that I found 2041’s images. I was struck by the rigidity, flatness and compositional skills that his images had. Compared to most who used the image more as a byproduct or vehicle to access their fetishes, 2041’s images seemed more like the images were performed for the camera and the camera only, for the sake of documentation, rather than for anything else.
PP: Is the book 2041 made in collaboration with the subject? If so, how did you make contact, build trust, ensure discretion?
LC: Yes, it is fully collaborative. Contact was made initially by Harry Hardie , who introduced himself as a publisher, and then I was bought into the conversation. I began a regular correspondence with him, which culminated in a face-to-face meeting and then visits to his house, where we collaborated and photographed each other, and I went through his image archives.
PP: Have all the pictures been verified? Can we know it is the same person under the burqas and niqabs in all the pictures? Does verification matter? Is not knowing something in absolute certainty one of the facets of the images and their use?
LC: I can verify 90% of them through their EXIF data, as we have had access to raw camera files. However, it is not necessarily the same person concealed. I think it is this lack of verification that is the titilating point of these images. Beneath the veil, your physical identity shrinks into a few gestures and outlines, and you can take on the form and countenance of another.
Even now there are images which Ben Weaver (HERE PRESS) and I cannot decide whether they depict our protagonist or others. To be certain though – this form of image-making is a firmly social practice, one based around solid online and offline networks. A few images in the book give this away, and were you to find 2041 online you would find images of me concealed, for example.
PP: Why did you want to make this book?
LC: Because I think that unlike many of the images made by people with strange interests on the internet, these images say something very complex about photography. What I like about these images is that there is that they are purely performative gestures – but yet they give nothing away. They reveal the presence of an individual, but not their likeness, or an accurate representation. Something about the concealment of desire, or the hiding of the true likeness of an object in these images actually feels like a very nuanced statement on photography, that at no stage in the process ever actually tries to use the camera to bear any details, or describe anything accurately.
PP: How many potential subjects and/or images did you have to choose from in making the book? What makes 2041’s images special — some aspects of aesthetics, or merely their availability?
LC: It wasn’t so much a matter of choice, more that these images asked for some kind of sequencing and exploring. There is definitely an aesthetic dimension of these images that is appealing – the composition and contrast between flatness and texture, the shapes are unlike others I have seen – and there is also a lot of time and effort that has gone into these. 2041 is also an actor, and a painter. You can see the influence of classical painting on some of his poses and crops. He is also akin to humour and self-deprecation, you can see it sometimes.
PP: 2041 wishes to remain anonymous. Obviously, as the editor, you’re a legitimate proxy to whom I can talk. I want to ask what 2041 thinks of the book?
LC: Let’s ask him once he has seen it!
PP: What do members of the online burqa fetish community think? What do you think they might think?
LC: I don’t think it has made its way through to these channels, but I would hope that what they see here is that we are not trying to ridicule or pass judgement through our scrutiny. This book I hope comes off as a sincere tribute to photography being used in a genuinely interesting way that talks about self-perception, the way images are used on the internet and so many other things, through the prism of a very personal, domestic and specific application of the camera.
PP: Do we understand what the burqa is and what it does?
LC: In these images the burqa, niqab or any other Muslim garment is a means to an end in some way. You can see in some of 2041’s experimentations that it is just about complete coverage through any means. He is not wearing a burqa in most images, in fact. The removal of physical presence is the goal here – it is never about using the burqa in a subversive or political way.
PP: Thanks, Lewis.
LC: Thank you, Pete.
2041, the book
170 x 240mm, 120pp + 6pp insert
72 photographs + 1 illustration
Offset lithoprint on coated & uncoated paper Sewn in sections with loose dust jacket
Choice of 3 cover ‘photo insert’ cards
Text, illustration & photographs by 2041
Edited & designed by Lewis Chaplin & Ben Weaver Edition of 500.
Emily Thornberry, the now former Attorney General for the Labour Party, the main opposition party in the UK tweeted this photo of a house with the caption “Image from #Rochester”
If I’m ever buried to my eyeballs in work and juggling a dozens stories a once, and if I feel like I’m doing lots of things average and none of them well, and if I ever feel like my stated commitment to imagery and politics in society is lagging, waning or absent, and I ever wonder if thinking and publishing on these things is actually worthwhile, a story from nowhere crops up and reminds me exactly why photography is surprising, ridiculous, ineffable and constantly in need of examination and appreciation.
Emily Thornberry, Attorney General for the Labour Party, the main opposition party in the UK lost her job because she tweeted the photo above.
It’s an amazingly quick unravelling of events for Thornberry — one consistent with the swiftness of media and exchange. Her tweet was aimed at no-one and everyone at the same time. Snark that endears no-one because it only unearths the latent lack of connections currently felt between the strata of English society.
It’s a personal attack of sorts. Maybe, even, classless?!
To me and ever other English person it is obvious why. In America everyone and their grannies hang up flags. But in Britain, the St. George’s flag has become synonymous with the working classes, plain living, no-nonsense attitudes. It’s an open secret that the working classes are mocked for their, well, lack of class. It’s a stereotype that is damaging and divisive and keeps people down.
Thornberry relied on the laziest of stereotypes to throw some shade at “hard-working English men” as Prime Minister David Cameron put it. Opportunism by Cameron (a man of the upper classes) for sure, but a fair assessment of Thornberry’s dismissal of this family, home and culture.
This story reminds me how imagery is entirely culturally relative. How we are all raised with different associations readings and literacy as far as images are concerned.
It also reminds me of the power of photography. One foolish slip by Thornberry (I don’t doubt she is scornful of working classes, she just made the mistake to express it) and she’s gone. A whole career ruined and probably a parliamentary seat lost.
© Ronnie Goodman
ARTS AND RECIDIVISM
“Evidence suggests that arts-in-prisons programs lower recidivism (returning to prisons) by 27% and reduce disciplinary actions by 75%,” reads the press release for the prison art exhibition The Cell and the Sanctuary: Art and Incarceration currently on show at the Santa Cruz Museum of Art & History (SCMAH).
That’s a bold claim.
One of the great difficulties with justifying arts and/or liberal arts education is the difficulty in measuring its direct (positive) effects. Evaluation in budget-constrained prison systems is especially demanding and cynical. First and foremost, people want to know if any type of program steers a prisoner away from anti-social behaviour. If the answer is complex, partly elusive or complicated by other criteria then doubt descends, the enterprise is labeled as airy-fairy, and premise is dismissed.
In brief, prison arts programs wanting to prove themselves have a tough audience.
The effects of arts and education is difficult to track because many benefits such as relative thinking, critical engagement outside of institutional narratives, cumulative learning, etc. take years. Education is a slow build. Benefits are for years down the line; for a lifetime. Also, many prisoners are on long sentences and the primary criteria corrections departments and researchers look to – recidivism – can only be measured once a prisoner is released. The intangibles of a liberal arts education aren’t necessarily contributing to a measurable impact the next hour.
A general aura of skepticism surrounding arts and liberal arts education is compounded by the fact that research money often goes toward other prison programming (vocational, prison industries) and other evaluation first. We saw this was the case when the State of California stripped the DOC of its Arts-In-Corrections funding 7-years ago. In times of crisis, arts funding is first on the chopping block.
Despite no state funding, groups such as the William James Association continued, driven by volunteer efforts. The recent California budget has put millions back into the coffers earmarked for Arts-In-Corrections. The William James Association has returned to work in 11 state prisons.
The return was helped by the convincing results of a study, California Prison Arts Evaluation 2014, that was commissioned jointly by the William James Association and the California Lawyers for the Arts. You can download it here.
Here’s the results of the study and reason for bold claims.
The California Prison Arts Evaluation 2014 was a one-year study in four prisons revealing that arts programs improve prisoners’ behavior and their attitudes about themselves.
“A significant majority of inmates attribute their greater confidence and self-discipline to pursue other academic and vocational opportunities to their participation in arts programs, signaling a pathway for overall personal growth,” says the William James Association.
A BRIEF HISTORY OF RESEARCH
The author was Dr. Lawrence Brewster of the University of San Francisco who had, in 2012, completed a Qualitative Study of the California Arts In Corrections Program.
Prior to these two studies, there had been little research since a cost-benefit study in 1983, An Evaluation of the Arts-in-Corrections Program of the California Department of Corrections (also conducted by Brewster), which posited that society and the institutions benefited by reduced disciplinary actions, community service and beautification of the prisons.
It was high time someone brought the research up to date and dampened down naysayers and skeptics. Hopefully, the California Prison Arts Evaluation 2014 might spur other states to make a return to arts programming.
“Arts-in-prisons programs improve relationships between people within the prison as well as with guards and supervisory staff,” says the William James Association.” Prisoners exposed to arts programs are more likely to adjust to life outside prison and are less likely to become repeat offenders.”
‘Blind Curve’ (2010) © Felix Lucero
‘Lower Yard, San Quentin’ @ Ronnie Goodman
‘Baseball at Old Folsom Prison’ @ Ronnie Goodman
© Justus Evans
‘Obscuring Self’ © Rolf Kissman
‘Jazz In San Quentin’ @ Ronnie Goodman
‘Uphill Struggle’ @ Ronnie Goodman
The Cell & The Sanctuary opening, Santa Cruz Museum of Art & History, November 7th, 2014. Photo: Laurie Brooks / William James Association
‘Prison Boots’ @ Ronnie Goodman
Installation view of The Cell & The Sanctuary, Santa Cruz Museum of Art & History. Photo: Laurie Brooks / William James Association
THE CELL AND THE SANCTUARY
The Cell and The Sanctuary features paintings, drawings, sculptures and writings by teachers, artists and organizations who are “working together within the prison system to provide a direct link between incarcerated individuals and something larger than their dehumanizing cells,” says SCMAH.
Artists including Ronnie Goodman, Justus Evans, Felix Lucero and Rolf Kissman (whose works are included in this post) are in the exhibition, as well as Ned Axthelm, Peter Bergne, Guillermo Willie, Stan Bey, Khalifah Christensen, Dennis Crookes, Isiah Daniels, Bruce Fowler, Henry Frank, Roy Gilstrap, Thomas Grider, Gary Harrell, Amy M. Ho, John Hoskings, David Johnson, Ben Jones, Richard Kamler, Chung Kao, Darryl Kennedy, Katya McCollah, Pat Messy, Omid Mokri, Gerald Morgan, Carol Newborg, Stan Newborg, James Norton, Eric “Phil” Phillips, Anthony Marco Ramirez, Adrienne Skye Roberts, Mark Stanley, Fred Tinsley, Tan Tran, Kurt Von Staden, Geno Washington, Michael Williams, Thomas Winfrey, and Noah Wright
It is on show November 7, 2014 – February 22, 2015
Senseless © Felix Lucero
Happy Halloween, folks. Here’s a fun series. Photographer Neil DaCosta went to Oregon’s kookiest Halloween attractions during daylight closing hours. However, the scenes he discovered and shot on color film ended up looking as sinister as they appear when shrouded in darkness and staged for the frightened masses.
Week to week, DaCosta works long hours as a commercial and editorial photographer. But that doesn’t stop him throwing his camera gear in the car and heading out on his free weekends to shoot personal projects. Shooting stuff to scratch his creative itch is what has kept him sane. At least that was the case until last weekend when his excursions to into haunted houses, forests and corn mazes may have just driven him over the edge.
The ghastly result is a series called With The Lights On.
It all started harmlessly enough. DaCosta stumbled across a haunted trail walking his dog and reasoned that photographing halloween attractions during daylight hours would make for interesting pictures.
“When I was younger, I use to volunteer at a similar haunted trail and remembered how spooky it was even during the day,” he says.
Despite his ghoulish memories of younger experience, DaCosta thought a throughly mature and deliberate diurnal examination of the sites would reveal them for the low-budget, facade dependent constructions they are. DaCosta thought his images would draw back the curtain.
And, so, DaCosta trudged with his 4×5 camera to the West Linn Haunted Trail, the Fear Asylum, and The Haunted Maize — tourist spots all within half-an-hour of his hometown, Portland.
“I captured them empty, during off hours, with the lights on,” explains DaCosta. “But the dark humor I was envisioning, ended up being just more dark than humorous. Goes to show that some of our fears don’t rely on the dark to manifest.”
Photographing on site was eerie. Dead dummies swung and tarps billowed in the dank air. DaCosta got the jitters which were not helped by joggers in the forests who crept up while he was under the dark cloth of his medium format camera.
Those that operated the attractions were welcoming. “Everyone was in to it. Owners put a lot of work into these haunts and they are only seasonal. They are excited someone wants to photograph their hard work,” says DaCosta.
Like all good Halloween antics, DaCosta’s unsettling images jangle the nerves and provide relief and laughter.
Being a procrastinator, DaCosta has yet to decide on his costume for tonight, but he’ll be channelling photographer Joel Peter Witkin, who is his favorite macabre showman.
Happy Halloween folks! Enjoy these pics and then get out there, Trick ‘o’ Treat, and spook some people!
The Magnum Foundation Photography & Human Rights Fellowship is an all expenses-paid scholarship for non-western, regional photographers and activists to attend the Photography & Human Rights summer program at New York University.
Over the past 5 years, 21 fellows from 15 different countries have participated in the program.
Applicants must be:
- Emerging and professional students, photographers, activists, and journalists.
– Born and live outside of North America and Western Europe.
– Proficient in speaking, reading, and writing in English.
– Demonstrated a commitment to addressing/documenting human rights issues within their home country.
For more into contact Alexis Lambrou at email@example.com or 212-219-1248