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Jesse Krimes

American Rendition

Malin Gallery

November 17, 2020 – January 23, 2021

Jesse Krimes, Phoenix, 2020
Jesse Krimes, Crow Hill, 2020
Jesse Krimes, Red Eagle, 2020
Jesse Krimes, ADX, 2020
Jesse Krimes, Raybrook, 2020
Jesse Krimes, North Star, 2019
Jesse Krimes, Tumbling Blocks, 2019
Jesse Krimes, Equality Quilt, 2020
Jesse Krimes, Bow Tie, 2019
Jesse Krimes, Log Cabin, 2019
Jesse Krimes, Drunkard's Path, 2020
An interactive virtual tour of the Jesse Krimes exhibition American Rendition
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes
Jesse Krimes

Press Release

Jesse Krimes:  American Rendition - Virtual Walk-Through

Malin Gallery is pleased to present a solo exhibition of recent work by the Philadelphia-based artist Jesse Krimes: American Rendition. The exhibition features 14 large-scale quilt works. In addition, the artist’s 20 ft x 30 ft Rikers Quilt will be displayed on specific days on the gallery’s exterior, which lies directly across from New York City’s elevated High Line Park. American Rendition is the artist’s third solo exhibition with the gallery.

Incarcerated for six years, Jesse Krimes creates artwork that frequently addresses the personal, communal and national level impacts of mass incarceration and the ways in which media and on-line representations of individual and group identities undergird societal structures related to punishment and confinement.

American Rendition features large-scale textile works from two different series: Elegy Quilts and Voices from the Heartland. The Elegy Quilts were constructed using fragments of personal clothing, textiles and other ephemera collected from currently and formerly incarcerated people. These quilts depict domestic scenes inspired by the subjects’ memories of their homes or other domestic spaces that they felt evoked the concept of “home.” Solitary, empty chairs are prominently featured, powerfully evoking the disastrous effects of COVID in prisons and jails and the absence of Americans who have effectively “disappeared” from their families and communities into the criminal justice and penal systems. The artist says of these works that, “The furniture and interiors are made mostly of old clothing and serve as symbolic stand-ins for the body that yearns to return.” Krimes believes that the carcercal system of the U.S. is designed to “punish, obscure and erase” the identities of the individuals who it claims. Such effacement of the personal identities of the incarcerated serve to make the (often indiscriminate) brutality of the system invisible or more tolerable to society at large. Krimes views the re-assertion of the identities and humanity of incarcerated individuals as a means of disrupting this orchestrated invisibility:

One of the most powerful and fundamental ways to challenge the disposability of people, particularly people locked away behind walls, is to make their full humanity more visible to the broader public. Our criminal system’s ability to accomplish mass human caging to an extent never before recorded depends on ignoring and erasing the people and stories of the human beings upon whom we inflict unspeakable suffering.

Several large-scale quilt works included in American Rendition were originally created as part of Krimes’ project Voices from the Heartland, which focussed on engaging smaller, majority-white rural communities in dialogues regarding racial justice and mass incarceration. Staged in Lancaster Country, PA in 2019, Voices from the Heartland featured a series of events and performances along with the construction of a five acre corn maze. The centerpiece of the show was a series of quilts, which Krimes produced in collaboration with local Amish artisans, displayed in a barn at the end of the corn maze. 

The large-scale quilts in Voices from the Heartland encompass both traditional techniques and motifs from the region and intricate imagery that Krimes’ transferred onto the textiles - an approach that evokes the artworks that Krimes produced using extensive image transfers during his own period of incarceration. As part of the process, Krimes facilitated workshops with men incarcerated in Pennsylvania’s Graterford Prison and co-created the quilts along with members of local faith communities and individuals employed in the local criminal justice system, including police, judges and parole officers. The imagery that Krimes incorporated into the quilts was largely inspired by the discussions around concepts of justice, freedom, safety and community that he facilitated during these workshops.

The traditional visual elements and techniques embodied by the quilts draw upon the rich history of Amish and Mennonite quilt-making practiced in the area for centuries with extensive reference to the Amish-Mennonite conception of restorative justice. Visual motifs incorporated into the quilts also evoke the historical role of the Lancaster area as an integral part of the Underground Railroad, wherein specific visual patterns are believe to have been used as signals by both Black and White railroad “conductors.”

Taken as a whole, the works in American Rendition serve dual purposes: as a means for Krimes to interrogate and reflect upon societal issues involving racial justice and mass incarceration and as a sustained, intensely personal reflections on the artist’s own experiences. The domestic interiors depicted here function as “symbolic stand-ins for the body that yearns to return.” Similarly, the use of clothing and other materials owned by incarcerated individuals simultaneously evokes both the absence of those individuals from society and the shared elements of families and community connections that have been attenuated or ruptured:

Integrating clothing and personal items owned by system-impacted individuals…invoke the body and a sense of presence through the absence of those millions who have been “disappeared” by the criminal justice system.  All of these materials have personal resonance for me as a formerly incarcerated person who has both generations of family in Lancaster County and was arrested, indicted and sent to federal prison from the region.

Jesse Krimes portrait
Jesse Krimes
Installation image of Apokaluptein
The Threat of COVID in Prisons: An Artist's Perspective
A Discussion with Jesse Krimes, Nicole Fleetwood and Jasmine Heiss 04/28/20
installation image
Mural Arts and the African American Museum in Philadelphia Present "Rendering Justice" curated by Jesse Krimes
Jesse Krimes quilt installation
Artnet News
What Does Art in the Age of Mass Incarceration Look Like? A Gripping New Show at MoMA PS1 Presents Startling Answers by Taylor Dafoe
Jesse Krimes soap work
National Public Radio - Morning Edition
"Marking Time" and Making Art in Confinement by Andrew Limbong
Museum installation
The New Yorker
Marking Time: Art in the Age of Mass Incarceration by Johanna Fateman
Detail of Jesse Krimes quilt
The New York Times
Critic's Pick - Making Art When Lockdown Means Prison by Holland Cotter
Press image
New York Magazine
MoMA PS1 Reopens to the Public with "Art in the Age of Mass Incarceration" by Cassidy George
Jesse Krimes soap work
Carceral Aesthetics: Nicole R. Fleetwood in Conversation with Rachel Kushner
Jesse Krimes quilt installation
Artist Imagine New Monuments and "Otherwise Worlds" by Thea Quiray Tagle 2020
Jesse Krimes soap work installation
Incarcerated Artists Are Making Some of Today’s Most Important Art. A Powerful New Book Explains Why. 2020
Jesse Krimes mobile
Eight Collectors Share the Art on Their Holiday Wish Lists
Installation of Jesse Krimes quilts
The Pandemic & The Prison System
An Artist's Perspective 26 April, 2020
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