Alysia Nahmias' docu-portrait of the artist as a young felon contains crossover appeal for viewers of both art appreciation and such prison-oriented material as Orange is the New Black. It humanizes the dilemma of rehabilitation and "corrections" as it pertains to gifted artists trapped in/emerging from the penitentiary system.
The central figure is Jesse Krimes (yes, his real name), hailing from an at-risk youth in Bucks County, Pennsylvania. Though obviously skilled at a young age and poised to get an art-school education on a scholarship, Krimes' drug-dealing and habit (never amounting to violence) earned him a six-year sentence in a South Carolina medium-security prison—which, Krimes learns, would have been 20 years if he were black instead of white.
The narrative spans several years, as Krimes earns release and attempts to rebuild his life (and relationship with his small son) on the outside. During incarceration, Krimes actually managed to network with similarly artistically inclined inmates (anyone with substantial drawing talent is actually popular in cellblock society, doing portraits and tattoo designs). Under the guise of making canvases, Krimes secretly completed an ambitious 40-foot mural on panels of discarded cell bedsheets which was smuggled out piece by piece—technically an offense of "vandalism" that would have prolonged his punishment had it been discovered.
Freed, Krimes sees his artwork in international exhibitions; yet he still must check in with a parole officer, his sobriety is tentative, and gainful employment is near-impossible with a rap sheet (though Pennsylvania seems enlightened enough to host public art programs specifically for ex-cons). The artist still continues to explore and test himself in media as wide-ranging as sculptural installation and glass blowing.
Some of what the heroes face are universal to the prison experience (with the refrain that Krimes has caught breaks that people of color never would have) and cry for reform of this "justice" system. Other questions might be specific to this situation. Did jail time shape the art and the artist, perhaps more meaningfully than a university might have, or was art the key to sanity in lockup? Nobody wants to suggest that prison has been "good" for any of these creators shown—but the question mark does hang here.
What public library shelves would this title be on?
Art collections will return an easy verdict on this one: a must-have, though shelves concerned with law and true crime/justice are equal suspects. There is regional appeal for Pennsylvania library stacks.
What academic subjects would this film be suitable for?
Art, art-as-therapy, and modern art should all take a look at Art & Krimes by Krimes, and so should courses on criminal justice and social work (especially as applied to offenders). It might also find a niche in public policy and administration courses that pertain to the ever-growing prison system.
What type of classroom would this documentary resource be suitable for?
Drug references and foul language are elements, though they are offset by the overall compassion for the film's subjects—and, of course, art. High school and up can take lessons.