Zora J Murff is a Visiting Assistant Professor of Photography at the University of Arkansas. Zora received his MFA in Studio Art from the University of Nebraska–Lincoln and holds a BS in Psychology from Iowa State University. Combining his education in human services and art, Zora's photography focuses on how images are used to reinforce social and cultural constructs including race and criminality. His work has been exhibited nationally, internationally, and featured online including Aperture Magazine, The New Yorker, VICE Magazine, The British Journal of Photography, and The New York Times. In 2017, Zora was named the Daylight Photo Award Winner and was also selected as a LensCulture 2017 Top 50 Emerging Talent with his collaborative partner Rana Young. Zora's fist monograph, Corrections, was published by Aint-Bad Editions in 2015 and his second monograph, LOST, Omaha, was published by Kris Graves Projects in 2018. Both books are available for purchase through the links below.
ORDER LOST
ORDER CORRECTIONS
Zora is also a co-curator of Strange Fire Collective with Jess T. Dugan, Hamidah Glasgow, and Rafael Soldi. To find out more please visit their website.
Summarize your work included in the exhibition Bridging Division open at The Light Factory:
From 2012 to 2015, Zora J Murff worked as a probation services provider for kids in the juvenile criminal justice system. Corrections is an examination of youth experience in the system, the role images play in defining someone who is deemed a criminal, and how concepts stigmatization and control may affect their future.
From 2012 to 2015, Zora J Murff worked as a probation services provider for kids in the juvenile criminal justice system. Corrections is an examination of youth experience in the system, the role images play in defining someone who is deemed a criminal, and how concepts stigmatization and control may affect their future.
What do you want others to know about your work?
Community-based services for juveniles exist in many communities across the United States. However, due to the privacy constraints imposed by the system, many people are not aware how these services operate. This work, on the surface, acts as a window into that system. Underneath that, the work looks at how we learn about criminality through images, and how that information sways our opinions of those in the criminal justice system.
What do you think the role of art and photography is playing in contemporary society?
There has been a proliferation in our consumption of digital media, and photography plays a big role in how we receive information on a daily basis. The act of looking at and evaluation images seems to be a rote function. I believe that art can challenge the way we look at photographs or maybe train us to become more critical of the visual information that we are given.
How do you view your work interacting with that role?
Many of the kids that I worked with faced a multitude of criticisms from their parents, teachers, and peers because of the stigmas they were given once they were tagged a “criminal”. The only restriction that I had in making this project was that I had to conceal their identities. I saw this as a barrier at first, but as a continued to make portraits of them, I saw the chance to use it as an opportunity. By making them anonymous, I had to find ways to restore a level of dignity through lighting, framing, and content. As the portraits are non-confrontational, it allows the viewer to consider the judgments that they make as they are in a position of power over the subject.
There has been a proliferation in our consumption of digital media, and photography plays a big role in how we receive information on a daily basis. The act of looking at and evaluation images seems to be a rote function. I believe that art can challenge the way we look at photographs or maybe train us to become more critical of the visual information that we are given.
How do you view your work interacting with that role?
Many of the kids that I worked with faced a multitude of criticisms from their parents, teachers, and peers because of the stigmas they were given once they were tagged a “criminal”. The only restriction that I had in making this project was that I had to conceal their identities. I saw this as a barrier at first, but as a continued to make portraits of them, I saw the chance to use it as an opportunity. By making them anonymous, I had to find ways to restore a level of dignity through lighting, framing, and content. As the portraits are non-confrontational, it allows the viewer to consider the judgments that they make as they are in a position of power over the subject.
What do you feel your work contributes to an exhibition about bridging division?
The criminal justice system creates a dichotomy between citizen and criminal. I feel that my work aims to highlight the broad spectrum of humanity and the pitfalls of stereotyping.
When viewers walk into this exhibition or view it online, what questions do you hope they ask themselves about the work?
What are your perceptions of the criminal justice system?
What are your perceptions of those inside of the system?
How have your perceptions about the criminal justice system and those called “criminals” changed? If so, how?
The criminal justice system creates a dichotomy between citizen and criminal. I feel that my work aims to highlight the broad spectrum of humanity and the pitfalls of stereotyping.
When viewers walk into this exhibition or view it online, what questions do you hope they ask themselves about the work?
What are your perceptions of the criminal justice system?
What are your perceptions of those inside of the system?
How have your perceptions about the criminal justice system and those called “criminals” changed? If so, how?