Los Angeles
The New Bend
27 Oct – 30 Dec 2022

Curated by Legacy Russell, Executive Director & Chief Curator of The Kitchen, ‘The New Bend’ travels from the gallery’s New York location to Los Angeles in October, bringing together 13 contemporary artists working in the raced, classed, and gendered traditions of quilting and textile practice.

Featuring Anthony Akinbola, Eddie R. Aparicio, Dawn Williams Boyd, Myrlande Constant, Ferren Gipson, Tomashi Jackson, Basil Kincaid, Eric N. Mack, Sojourner Truth Parsons, Tuesday Smillie, Rachel Eulena Williams, Qualeasha Wood, and Zadie Xa.

About Gee’s Bend

The town of Boykin—also known as Gee’s Bend—is an intimate African American community located at the arc of a bend of the Alabama River within Wilcox County, Alabama in the United States. The location was originally named for a landowner and slaveholder of the same surname who in 1816 settled in the area and built a cotton plantation. Many of the residents of the area are descendants of the enslaved people who worked on this plantation; they therefore carry shared family names, such as Bendolph, Pettway, and Young. The formation of the quilting tradition of Gee’s Bend rises out of the 19th and 20th century and carries on to present day where a vibrant network of collective quilters continues to grow and apply their creative practice. In the 1940s, the land of Boykin was sold in plots by the United States government to local families still living in the Bend. In a complex twist, this made it possible for the Black and Native residents of the area—once subject to the extractive labor and economic practices of enslavement and sharecropping—to gain ownership in part over the same land their families had once forcibly worked within.

While the account of Modern Art engages abstraction as a critical tool of experimentation, the narrative as it has been told to-date has not been inclusive of this group and the ways in which they continue to transform art history, visual culture, and cultural production across localities and generations.

Intersecting with the 20th anniversary of the groundbreaking exhibition ‘The Quilts at Gee’s Bend’ first presented at The Whitney Museum of Art (2002- 2003), each of the artists featured in ‘The New Bend’ explores this legacy both in their technical approach and formal aesthetic. The abstract and expressive modes of cutting, stitching, splicing, and remixing articulated in this exhibition as queered performative and editorial acts also reframe an understanding of the digital, computational, memetic, and algorithmic. Audrey Bennett, University of Michigan Professor of Art and Design, coined the term ‘heritage algorithms’ in 2016 to denote the goal of ‘not reducing culture to code, but expanding coding to embrace culture.’

In their co-authored essay ‘On Cultural Cyborgs’ (2020), Bennett and her collaborator Ron Eglash, Professor of Information, call to ‘decolonize cybernetics’ as a core component of ethnocomputing. What the quilters of Gee’s Bend reveal via their transformative cooperative work is that they are both artists and technologists, contributing simultaneously to art history, as well as to science, technology, engineering, and mathematics (STEM) practice. This duality exists in the work of each artist featured in this exhibition and many more beyond who continue to grow in this tradition. Thus, through their practice, the 13 artists on view in ‘The New Bend’ propose electrifying new directions, adding a promising new bend in this journey.