Faces of Change Garners Widespread Acclaim

Faces of Change Garners Widespread Acclaim

In The News

KC STUDIO
“Faces of Change”: From Despair to Hope
By Hampton Stevens
October 21, 2015

Vedros’ work for ROFW couldn’t be more different than the fun, often fanciful work he does for his commercial clients. The “Faces of Change” images are of the prisons themselves, of the stark walls and menacing barbed wire, of the meager and fantastically unappetizing food the prisoners are served.

Most dramatically, there are portraits of the inmates. Vedros captures them as contemplative, bemused, or joyful. They are fully, abundantly human. The exhibit, in a broad sense, is about hope in a hopeless place.

Fried is thrilled with the photos. “I love that they capture the sensitivity, the hearts and souls of the people. My hope is that the exhibit will give people a different idea about those who are serving time in prison. I hope they will be seen as people instead of just someone who committed a crime.”

 

American Photo
THE 10 BEST NEW PHOTO EXHIBITS: WINTER 2015
By Lindsay Comstock 
December 16, 2015

These portraits are an unflinching look at the positive changes that can happen through prison rehabilitation programs and the enduring human soul beyond the face.

 

Vice
Photos Showing the Reality of Prison Inmate Rehabilitation
By Seth Ferranti
December 12, 2015

My wildest dream was to get this project into a venue like the Kemper. That was shooting for the sky. We weren't sure we would get in. We needed a gallery or a museum that would give us the credibility to make people pay attention to it. And we fortunately landed our first choice because they viewed my photographs not only as an artistic project, but as a socially-relevant project. The Kemper has been wonderful to work with and they provided terrific input on how to hang the show.

 

Mizzou
Mizzou alumni collaborate on an exhibition at the Kemper Museum of Contemporary Art
November 2015

Q: The photographs you made for the Faces of Change exhibition are a departure from the commercial and advertising focus of a lot of your photography. How did that change your approach?

A: My approach is always pragmatic. I base my decisions on what I need in the end. Then I decide how to get there. This exhibition is more photojournalism and less commercial. But either way, I have to interact with my subjects in a positive way to attain an honest look.