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Audience/participants reading the 4-page PHOTOGRAPHY AND SOCIAL PRACTICE broadsheet, a PDF of which will be uploaded to asocialpractice.com shortly.

On Friday, I was part of the Photo-Based Social Practice panel alongside Eliza GregoryGemma-Rose Turnbull, Mark Strandquist and Wendy Ewald.

The event was hosted by Aperture Foundation and Open Engagement. As introduction, we discussed our own practices and priorities, followed by break-out groups to develop the conversation and canvas audience members’ views.

These conversations will influence our ongoing practices and be expanded upon in articles on the website Photography As A Social Practice throughout the summer, but for now here are some snaps of the ideas we noted during each group.

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Cross-posted from Photography As A Social Practice

Update 05.11.2014: The Eventbrite registration page has been closed after 80 sign-ups. But, there’s space for walk-ins and allcomers. We don’t want to turn anyone away!

Email info@asocialpractice.com to extend your interest. Thanks.

A BIG PUBLIC CHAT

Next Friday, May 16th, as part of the Open Engagement conference, I’ll be part of a conversation about photography based art and social practice.

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The Photo-Based Social Practice panel and group brainstorming is at the Aperture Gallery in New York, 10am – 12 noon.

Moderator Eliza Gregory along with panelists Gemma-Rose Turnbull, Mark Strandquist, Wendy Ewald and I will be discussing socially engaged, transdisciplinary, and expanded practices in contemporary photography.

Highfalutin, huh? Not really. The language is big, but the query is simple. Can photography build community and empower subjects? How can photography be nice?

It’s free, but preregistration is required. Do that HERE (6th option on the list).

We’re only going to do the briefest of introductions to our work before breaking into groups to tackle a host of questions that deal with audience, relevance and good design. It only makes sense that we collaborate to tackle answers to these issues.

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We hope that the panel will follow nicely on from December’s Collaboration: Revisiting the History of Photography event that crowdsourced a new timeline of photo-history by focusing on projects with communities and groups as creators. I love the ideas involved in that.

While the Collaboration: Revisiting the History of Photography event gave new recognition to old projects and while it presented a new timeline and framework, it didn’t tackle best practices. From the projects it unearthed we can surmise the nature of some socially responsible projects, methodologies and motivations. In our discussion next week we hope to extend the conversation further and start to define common language, and potentially best practices, for socially engaged photography projects.

Please join us and help us along!

LOCATION, DATE, TIME

Aperture Gallery and Bookstore
547 West 27th Street, New York
10:00 am – 12:00 pm, Friday, May 16th.
FREE WITH REGISTRATION

NEW VENTURE! ‘PHOTOGRAPHY AS A SOCIAL PRACTICE’

Now is a good time to mention a joint venture recently started by my fellow panelists, Eliza Gregory, Gemma-Rose Turnbull and Mark Strandquist.

Photography As A Social Practice is a website for reference tools, teaching tools, and conversation about the intersection of social practice and photography. I’ll be contributing every so often and chatting on the phone about content. You can suggest resources by emailing info[at]asocialpractice[dot]com

SPONSORS

The panel is offered in conjunction with the Magnum Foundation and the Aperture Foundation who combined to publish Documentary, Expanded, the Spring Issue (#214) of Aperture Magazine as part of the Photography, Expanded initiative. Support also comes from the Open Society Documentary Photography ProjectThe School of Journalism and Communication (University of Queensland) and Portland State University‘s Art and Social Practice Program.

OPEN ENGAGEMENT, 2014

The Photo-Based Social Practice panel is part of Open Engagement, an international conference that sets out to explore various perspectives on art and social practice, and expand the dialogue around socially engaged art-making. This year, the conference addresses the theme of Life/Work. It is 2 days of programming (Sat, May 17 – Sun, May 18) at the Queens Museum, plus 1 day of pre-conference events on Fri 16th at different locations around the New York boroughs.

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Just a quick post to say …

It happened. Prison Obscura opened. With a fantastic turnout. Gallery was crammed for the curator’s talk and people said many nice things. I pulled my usual trick, clocking silly hours until the early hours most of last week during install. Matthew Seamus Callinan, the Associate Director of Cantor Fitzgerald Gallery and Campus Exhibitions at Haverford College did the same. I cannot thank Matthew enough for his support throughout the creation of the show. Legend. More thanks to so many people.

I haven’t any pictures of the opening because my head was spinning. There’s some on Facebook. I’m sure others have some too (send ‘em over!) but I wanted to do a quick post with some installation shots. Taken at different points during the week during install and may not reflect exactly the final layout. (Buckets and hardware not part of the show).

Prison Obscura is up until March 7th at the Cantor Fitzgerald Gallery at Haverford College, just outside Philadelphia, PA. All you need to know about the exhibit is here.

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It is with giddy, air-punching pride and mammoth-sized gratitude for those that helped me along the way that I announce the imminent opening of Prison Obscura.

This exhibition is my first solo-curating gig and reflects my thinking right now about images of and from American prisons. Prison Obscura includes works, approaches and genres that — after 5-years of looking at prison photographs — I consider most informative, responsible, challenging and useful.

Prison Obscura is on show at Haverford College’s Cantor Fitzgerald Gallery from January 24 through March 7. The CantorFitz built a remarkable Prison Obscura website to accompany the exhibition, at which you can find a lengthy 5,000-word essay as to why I have shied away from traditional documentary work and focused instead on surveillance, code, vernacular snaps, prisoner-made photographs and rarely-seen evidentiary images.

I posit that certain images can more accurately speak to political realities in America’s prison industrial complex. I also celebrate photographs that were made through processes of collaboration with prisoners and with intention to socially engage the subjects and educate audiences. I want you to wonder why you — a tax-paying, prison-funding citizen — rarely gets the chance to see inside prisons, and I want us to think about what roles existing pictures serve for those who live and work within the system.

Scroll down to learn more about the Prison Obscura artists.

Clinical contact holding cage, Administrative Segregation Unit (ASU), C-Yard, Building 12, Mule Creek State Prison, California. August 1st, 2008

Photographer Unknown. Clinical contact holding cage, Administrative Segregation Unit (ASU), C-Yard, Building 12, Mule Creek State Prison, California. August 1st, 2008. Used by law firms representing imprisoned plaintiffs in class action lawsuit against the State of California in the Plata/Coleman vs. Brown cases.
Group holding cages, C-Yard, Building 13, Administrative Segregation Unit, Mule Creek State Prison, August 1st, 2008
Photographer Unknown. Group holding cages, C-Yard, Building 13, Administrative Segregation Unit, Mule Creek State Prison, August 1st, 2008. Used by law firms representing imprisoned plaintiffs in class action lawsuit against the State of California in the Plata/Coleman vs. Brown cases.
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Suicide watch cell, Building 6A, Facility D, Wasco State Prison, California (August 1st, 2008). This photograph document was submitted as evidence in the Brown vs. Plata class action lawsuit (Supreme Court of the United States, May 2011). Photo: Anonymous, courtesy of Rosen Bien Galvan & Grunfeld LLP.
Reception Center Visiting : Clinician Office Space, North Kern State Prison, July, 2008
Photographer Unknown. Reception Center Visiting / Clinician Office Space, North Kern State Prison, July, 2008. Used by law firms representing imprisoned plaintiffs in class action lawsuit against the State of California in the Plata/Coleman vs. Brown cases.

PRISON OBSCURA ARTISTS

Alyse Emdur’s collected letters and prison visiting room portraits as well as Robert Gumpert’s recorded audio stories from within the San Francisco jail system provide an opportunity to see, read, and listen to subjects in the contexts of their incarceration.

Juvenile and adult prisoners in different workshops led by Steve Davis, Mark Strandquist, and Kristen S. Wilkins perform for the camera, reflect on their past, describe their memories, and self-represent through photographs.

Prison Obscura will also feature work made in partnership with the City of Philadelphia Mural Arts Program. Men from Graterford Prison who are affiliated with both its own Restorative Justice Program and Mural Arts’ Restorative Justice Group are collaborating to create a mural for the exhibition.

The exhibit moves between these intimate portrayals of life within the prison system to more expansive views of legal and spatial surveillance in works like Josh Begley’s manipulated Google Maps’ API code and Paul Rucker’s animated videos, which offer a “celestial” view of the growth of the prison system.

Prison Obscura builds the case that Americans must come face to face with these images to grasp the proliferation of the U.S. prison system and to connect with those it confines.

Scroll down for media, details and events.

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Mark Strandquist. Pocahontas State Park, Picture of the Dam. One Hundred and Thirty Days (top); text describing the scene written by a Virginia prisoner (bottom). From the series Some Other Places We’ve Missed.
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Josh Begley Facility 237. From the series Prison Map.
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50 of the 5,393 facilities imaged by Prison Map, a data art project which automatically “photographs” every locked facility in the U.S. by gleaning files from Google Maps with use of code modified from the Google API code by artist Josh Begley.
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Josh Begley Facility 492 From the series Prison Map.
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Photographer unknown. Incarcerated girls at Remann Hall, Tacoma, Washington, reenact restraint techniques in a pinhole camera workshop, 2002. Photo: Courtesy of Steve Davis.
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Photographer unknown: Untitled, Green Hill School, Chehalis, WA. Photo: Courtesy of Steve Davis.
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Photographer unknown: Steve Davis Untitled, Green Hill School, Chehalis, WA. Photo: Courtesy of Steve Davis.
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David Wells, Thumb Correctional Facility, Lapeer, Michigan. From the series ‘Prison Landscapes (2005-2011).’ Photo: Courtesy of Alyse Emdur.
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Alyse Emdur. Anonymous Backdrop Painted in Woodbourne Correctional Facility, New York. From the series ‘Prison Landcapes’ (2005- 2011)
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Robert Gumpert. Tameika Smith, 9 July 2012, San Francisco, CA. From the series ‘Take A Picture, Tell A Story.’
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Robert Gumpert. Michael Johnson, 15 August, 2009, San Francisco County Jail 5, San Bruno, CA. From the series ‘Take A Picture, Tell A Story.’

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Kristen S. Wilkins. Supplication #17 (diptych). “It might be hard to find, but it’s called Trapper Peak near the Bitterroot Valley.” From the series ‘Supplication.’

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Kristen S. Wilkins. Supplication #17 (diptych). “It might be hard to find, but it’s called Trapper Peak near the Bitterroot Valley.” From the series ‘Supplication.’

EVENTS

I’ll be giving a curator’s talk in the gallery on Friday, January 24, 2014, 4:30-5:30pm, followed by the opening reception 5:30–7:30pm.

Additionally, poet C.D. Wright will be on campus for a Tri-College Mellon Creative Residency in conjunction with the exhibit, and on January 31, at 12 noon in the Cantor Fitzgerald Gallery, Wright and I will host a dialogue about Prison Obscura.

DETAILS

Prison Obscura is presented by Haverford College’s John B. Hurford ’60 Center for the Arts and Humanities with support from the City of Philadelphia Mural Arts Program.

Part of the John B. Hurford ’60 Center for the Arts and Humanities and located in Whitehead Campus Center, the Cantor Fitzgerald Gallery is open Monday through Friday 11 a.m. to 5 p.m., Saturdays and Sundays 12 p.m. to 5 p.m., and Wednesdays until 8 p.m.

Haverford College is located at 370 Lancaster Avenue, Haverford, PA, 19041.

SPREADING THE WORD

View and download press images here. For interviews or variant images contact me. Here’s a big postcard.

For more information, please contact myself or Matthew Callinan, associate director of the Cantor Fitzgerald Gallery and campus exhibitions, at (610) 896-1287 or mcallina@haverford.edu

Cantor Fitzgerald Gallery on Facebook (including installation) and Twitter.
Haverford College on Twitter.
Hurford Center for the Arts on Twitter.

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Poster showing the statistics and aesthetic of ‘Proliferation’ an animated video of prison construction in the United States (1776-2010). Image: Courtesy of Paul Rucker.
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Graphic design for Prison Obscura by Ellen Gould.

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If you’re strolling around the centre of Charlottesville these next few days and peep a red newspaper box, reach inside and grab yourself a copy of the free paper within.

Accompanying his exhibition of Some Other Places We’ve Missed at The Bridge: Progressive Arts Initiative in Charlottesville, artist Mark Strandquist has created eight pages of photos, activist resources and a call to engage.

I have a vested interest in promoting this newspaper. For it, I wrote an editorial about the history of — and imperative of — photographers and artists working in American prisons. It is reproduced in full below.

Even if I wasn’t personally involved, I’d still be singing the praises of Mark’s work – I’ve posted about Some Other Places We’ve Missed before and I am including the work in a prison photography show next year. When Mark and I chatted about the exhibition of Some Other Places We’ve Missed, we got all giddy about the fact that his show is outside of the official LOOK3 program, and yet he is able to grab some mindshare among the throng of photobodies in Charlottesville this week.

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© Mark Strandquist. A photograph made of a scene described by an incarcerated male.

ART AND SOCIAL ENGAGEMENT

For the longest time, photojournalism and documentary work has pursued common good, reliable information, hidden stories and social change. At least, that’s the ideal. With guests such as Susan Meiselas and Martha Rosler, and with Koudelka’s exhibit, the LOOK3 schedule looks serious and seriously good.

Mark and I are huge fans of this year’s LOOK3 line up, but LOOK3 remains a big festival where the cucumber martinis flow like wine and big name photographers will hold court in Charlottesville town center. Festivals are about learning, meeting and sometimes brown-nosing … and, for that, we love them. Everyone leaves photography festivals feeling connected and re-energised and that’s how it should be. But, there’s more.

Some Other Places We’ve Missed asks us to think about image-making in slightly different ways. Not everyone can produce a 20 foot tall Nat Geo vinyl banner, but everyone can have the type of  intimate conversations on which Some Other Places We’ve Missed is based. Of course, I am biased because Mark is having conversations with American prisoners and I think there’s rehabilitative value in that.

I’ll stop prattling on now and just say if your interest is piqued then you should attend the panel talk More than A Witness – Photography as Social Engagement on June 15, 2pm – 3:30pm. Speakers are David Levi Strauss, Chair of Critical Studies at the School of Visual Arts, Edgar Endress of Floating Lab Collective, Yukiko Yamagata of the Open Society Foundation, and Matthew Slaats, Executive Director of the Bridge. They’ll discuss how art facilitates dialogue and can be used to reach out to new subjects and engage broader audiences. Find out more on Facebook here.

Mark has programmed a busy schedule of events at The Bridge including a poetry reading and discussion between gallery-goers and prisoners via a direct feed from a local jail. Full details on The Bridge website.

[Scroll down for my newspaper editorial.]

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Installation shot of Some Other Places We’ve Missed, opening night at The Bridge, Charlottesville, VA.

EDITORIAL: DRAWING ON MEMORY, WORKSHOP GETS PRISONERS AND PUBLICS THINKING ABOUT PHOTOGRAPHY, STORY AND HIDDEN SPACE

In the 1970s, a purple barge floated up and down the Hudson River in New York state. Once moored, photographers emerged to teach workshops to communities traditionally outside of art circles; hospital patients, rural high-schoolers and — perhaps most remarkably — prisoners. The buoyant vessel with living and gallery spaces was operated by the Floating Foundation of Photography (FFP).

Not all New York State prisons are on the Hudson and so after initial offerings at Sing Sing, FFP ventured inland, eventually delivering photographic arts education in eight prisons. The majority of workshops were facilitated by founder Maggie Sherwood, her son Steve Schoen and a handful of close associates. But, the FFP enjoyed close ties with the New York arts scene and as such invited leading photographers in recent memory to deliver day-long workshops in the prisons – W. Eugene Smith, Arthur Tress, Mary Ellen Mark, Les Krims, Judy Dater, Lisette Model and Lee Witkin to name a few. The FFP mounted exhibitions of “outsider photography” on the anchored barge in Manhattan and in Central Park.

As one browses the images and stories within Some Other Places We’ve Missed, perhaps it is worth bearing in mind the history of arts education — and specifically the role of photography — in the rehabilitation of those locked up within our prisons and jails. The Floating Foundation represents a particular high point in this history; the access into prisons that it negotiated, the pedagogy it employed, and the optimism it eschewed stand out as extraordinary. These days, opportunities for arts education (with strong photographic components) in the prison industrial complex are rare. As such, projects such as Mark Strandquist’s deserve attention.

In the 1980s, mass incarceration began. In the past 35 years, the number of Americans locked up has more than quadrupled. The war on drugs, indeterminate and longer sentencing, broader definitions of criminal behaviour, the decimation of many safety-nets for society’s most vulnerable, and the politics of rhetoric and fear all contributed to the tumorous growth of America’s prisons. Even in states that entered a prison building boom, facilities were soon overcrowded. As costs soared, pressures mounted and efficiencies took priority, both the ability to provide — and belief in — the efficacy of education and arts to help in the rehabilitation of prisoners waned.

States previously provided high school and college education to prisoners as item lines on their budgets. These were scratched from budgets early, and when the Clinton administration revoked prisoners’ right to federally funded Pell Grants in 1994, the message was clear: prisons exist to incapacitate, not to rehabilitate. The majority of college level education provided in state prisons these days is administered by either earnest non-profits, University departments with social justice mandates, and sometimes the two in partnership. Prisons remain legally obliged to enroll prisoners without high-school diplomas into GED programs, but the success of students already alienated by public schooling often hampers success. To speak generally, it is the limited scope of — and limited opportunities for — education in prison that scupper advancement. To wright this ship, a huge shift in political will, informational (media) exchange and tax-payer attitude is required.

Prisoners are lining up to be part of this collective shift of consciousness. “Lucky” prisoners may live in state facilities close to a big city which can draw on volunteers to run programs previously provided by the state. Others find opportunities designed for successful reentry toward the end of their terms. But still, the majority of American prisoners have little to no voice and are for all intents and purposes invisible. Existing creative outlets include law libraries (although not in private prisons), pen-pal programs, and vocational work (prison factories remain because of the immediate profits they create), but these are programs that should exist for all and form merely first rung of the ladders to self-improvement and broadening of the mind.

Some Other Places We’ve Missed brings to us the voices, regrets, dreams and imagination of just a small number of men incarcerated in Richmond County Jail. Mark Strandquist provides us a bridge into their worlds. One needn’t share the political position of an artist to recognize the imperatives of a work or an action; intellectual curiosity and community engagement can saturate the entire political spectrum. Strandquist’s work is sadly exceptional, but it needn’t be. Perhaps, his tenacity is exceptional, but I believe it is within reach of us all. Whenever possible we should be thinking of ways that we can engage with our nation’s prison population. It is a population that has been strategically manipulated to the point of invisibility.

Cameras are a security tool for prison administrations, but in the hands of others are a security hazard. The ability to see, frame and witness life behind bars inherently involves power. In mugshots, in surveillance and in tightly-controlled visiting room digital portraits, prison authorities have a near monopoly on such power. Only rare and serendipitous moments (usually a sympathetic superintendent) give rise to an artist being permitted to use a camera in prison space — Robert Gumpert, Kristen Wilkins, Jenn Ackerman and Jeff Barnet-Winsby are a few examples.

Strandquist navigated this potential barrier by conducting a photography workshop without any introduction of cameras into the classroom. His simple question, “If you had a window in your cell, what place from your past would it look out to?” acted as proxy to any release of the shutter. He asked students to think photographically. While the images are made by Strandquist beyond the prison walls, the essential discussions about memory, self-reflection, the power of photography and the comfort of the image all inform the project.

Through Strandquist’s photographs, we the public, are given an opportunity to connect with the incarcerated; their imagined windows become, momentarily, our window into their lives. But the 1/125th of a second needed to make a photograph is a perverse fraction of the months and years many spend imprisoned. Are the photographs enough? On their own, probably not. But the collaborative and educational core to the project is considerable. As audience, we should employ the same amount of imagination as Strandquist’s students and consider similar ways we can engage with incarcerated persons. There is every reason to think Strandquist’s methodology can be replicated in prisons and jails across the nation. With 2.3 million men, women and children behind bars Some Other Places We’ve Missed should also be a prompt for us to meditate on the millions of sights and experiences in American prisons that we never witness.

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“The neighborhood was middle class, nice, where everyone knew everyone. One great lady taking care of us all – grandmother; Big Momma for short. The house set on fire when one cousin playing with matches. Had to move into government owned property. Family split up. Never as close as before. Miss the love. Home base.”

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BIOGRAPHY

Mark Strandquist is a multi-media artist and curator based in Richmond, VA, who creates work that incorporates viewers as direct participants, features histories that are typically distorted or ignored, and blurs the boundary between artistic practice and social engagement. His work has been featured in various film festivals and independent galleries as well as a current exhibit at the Art Museum of Americas in Washington, DC. He is currently working on a BFA at Virginia Commonwealth University. He has a Tumblr.

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“I see a dam. […] For five friends since birth this has been our sanctuary we have retreated to since we found it on our explorations off the beaten path as kids. We have come to celebrate, mourn and hide.”

For his participatory project, Some Other Places We’ve Missed artist and photographer Mark Strandquist held workshops in various jails and prisons, and asked prisoners, “If you had a window in your cell, what place from your past would it look out to?”

Along with the written descriptions, individuals provided a detailed memory from the chosen location, and described how they wanted the photograph composed.

Strandquist then photographed and an image is handed or mailed back to the incarcerated participants. The size of photographs he made and later exhibited were/are consistent with the restrictions imposed on pictures sent into prisons.

It’s a strong project that involves many different groups. It attempts to build connections where none exist. If one artist can achieve this, think what a whole posse could accomplish?

NOTE

The scanned letters are difficult to read at this size; I recommend using you COMMAND + keys to enlarge the page and jpegs.

[Keep reading below]

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“Right outside my window is my mom’s house.”

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“The neighborhood was middle class, nice, where everyone knew everyone. One great lady taking care of us all – grandmother; Big Momma for short. The house set on fire when one cousin playing with matches. Had to move into government owned property. Family split up. Never as close as before. Miss the love. Home base.”

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“Here I was standing behind our freshman quarterback staring down the opposition’s defense, 68 yards from the end zone. […] The outside linebacker took a great angle and I thought I’d be shoved out of bounds. Quickly I stiff-arms shim and broke free down the sideline … before my first touchdown as a senior. What I want most is for you guys to know is that hard work and dedication definitely pay off.”

In some ways the work is similar to the Tamms Year Ten Photography Project that asked Illinois prisoners in solitary confinement to describe one image they would like on their cell wall (and which I featured a couple of weeks ago).

Upon encountering the Tamms Year Ten Photography Project, Strandquist was “blown away”, yet he identifies differences between methodolgies.

“The Tamms Year Ten Photography Project is a really challenging project, but there’s so much to love – its diffusion of authorship; its performative aspects of individuals seeking out public spaces to make these images; and its deconstruction of fine art aesthetics,” says Strandquist.

“I believe the form and function of Some Other Places We’ve Missed moves in different, hopefully equally powerful ways. My project is as much about creating a window for the incarcerated participants as it is about creating a window for the public, a meeting ground where each participant’s challenging memories and realities mix with images shot intentionally to facilitate open associations. Part of me wants to hear the stories behind the Tamms requests … but maybe that’s the voyeur in me?” adds Strandquist.

In this case, a will toward voyeurism (to use Strandquist’s term) would indicate that the Tamms Year Ten Photography Project succeeded; it draws audience members in, to then go ahead under their own steam to learn more about the issue, the systems and the people within.

[Keep reading below]

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“I’m staring at a place where I once was a child. A confused little boy in search of some meaning. 7 years of age in an urban apartment complex with no parental direction.”

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“My memories of my old house are both good and bad. Playing games, watching TV and just hanging out with my older brother. There were bad times that made me see things different – My mom kicking my dad out, my dad beating my mom, my mom leaving with no goodbyes, to seeing my brother every blue moon. What makes this house so special is it’s the last time everyone was under one roof.”

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“… all my mom wanted was for my to finish high school. I want to make that up for that with going to college.”

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“I miss the feeling of waking up early in the morning to the TV still being on and hearing my little sisters and brothers tearing the house down […] Sometimes it’s the little things that you never pay attention to that can effect you the most in the future.”

GET INVOLVED!

If you, or someone you know is incarcerated, and would be interested in participating in the project, you can email Mark at markaloysious@gmail.com

INSTALLATION

Strandquist recently exhibited Some Other Places We’ve Missed at Anderson Gallery in Richmond, VA. His interactive installation featured weekly prison letter writing workshops and a space to donate books to the local chapter of Books to Prisoners.

Visitors were given the opportunity to take with them copies of written statements by the incarcerated participant about the space to which they wish they had a window.

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BIOGRAPHY

Mark Strandquist is a multi-media artist and curator based in Richmond, VA, who creates work that incorporates viewers as direct participants, features histories that are typically distorted or ignored, and blurs the boundary between artistic practice and social engagement. His work has been featured in various film festivals and independent galleries as well as a current exhibit at the Art Museum of Americas in Washington, DC. He is currently working on a BFA at Virginia Commonwealth University. He has a Tumblr.

EMAIL

prisonphotography [at] gmail [dot] com

@BROOKPETE ON TWITTER

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