On September 9th, Liliana Bloch Gallery will present one of the most relevant exhibitions for the South, and in particular, Texas, Louisiana, and Mississippi. 40 Acres?Gumbo Ya-Ya features the photographic work of Letitia Huckaby captured in rural southern landscapes and framed in embroidery hoops.
The show?s title refers to a promise made in the United States for agrarian reform for former enslaved black farmers by Union General William Tecumseh Sherman on January 16, 1865. Many freedmen believed, and who had been told by various political figures, they had a right to own the land they had worked as slaves and were eager to control their own property. Freed people widely expected to legally claim 40 acres of land and their mule after the end of the war, long after proclamations such as Sherman’s Special Field Orders, No. 15 and the Freedmen’s Bureau Act were explicitly reversed. In reality, only 9% of the 3,953,761 slaves received land after Sherman?s promise. Many of those among the 9% would lose their land after a prolonged recession in 1910, the same year African-American boxer Jack Johnson defeated white boxer James J. Jeffries in a heavyweight boxing match, sparking race riots across the United States.
?Gumbo Ya-Ya? refers to Cajun colloquialism for ?Everyone talks at once,? reiterating promises made and promises broken by representatives of the American government, or everyone talking at once, but nothing is being said.
Huckaby?s juxtaposition of beautiful southern landscapes, seemingly abandoned homes, and backyards full of life reflect the reality of the vast majority of the South. There is a risk for artists to exploit poverty without the intention to. However, Huckaby?s use of vintage embroidery frames embodies these homesteads as a keepsake over exploitation or an invasion.
The series represents a unique perspective on southern culture and history. Although the title refers specifically to promises made to African-American slaves and would be freedmen, the photos lack any context of color; the homes and landscapes displayed are race-less. In truth, the series depicts a rural culture brewed in neglect, disappointment, and broken promises handed down from one generation to the next, though the charming landscapes and lively backyards hint at something like hope.
We were able to ask Letitia Huckaby a few questions about 40 acres?Gumbo Ya-Ya, her process, and her history:
PATRON: The show title?refers to 40 acres and a mule and broken promises made by the US government specifically to slaves and freedmen; however, none of the photos explicitly depicts race. That suggests that any audience member place himself or herself?in the image. Was that your intention, if not, what was your reasoning to leave figures out of your photographs?
Letitia Huckaby: You are correct in your interpretation of my choice to focus on the landscape and not the people. ?There is only one piece in the show that has actual figures, but you do feel a human presence in the work. ?My thoughts were mainly on the effects of the broken promises, and how that has shaped a culture and or a landscape. Although it has led to a great deal of hopelessness, there is still beauty there as well.
P: The embroidered frames are brilliant, what was your original intention of placing your photographs within the frames??
LH: My intentions for placing the photographs within embroidery hoops was to tie the images to the process of building a place called home. ?When a person sits down with an embroidery hoop it is to meticulously focus on creating something beautiful for their family, their immediate family and generations to come. For African-Americans it has been challenging to leave a legacy for our descendants, due in part to a system that has historically worked against us.
P: These photos come over very authentic, personal, and emotional;?were these homes and places that you knew personally??
LH: Yes, the images all come from Louisiana (my maternal lineage), Mississippi (my paternal lineage) and Texas.
P: It is very easy for creatives to exploit poverty or history, and you did a wonderful job of avoiding exploitation. What went through your mind and your process to make these photos so authentic??
LH: For me, it is more about history than poverty. When I look at these images I see the past and how it has shaped the present. One of the images entitled “Dixon Correctional Institute,” is an image of a herd of really interesting cows. They are black cows with white heads. ?For me, the irony is that they are owned by a prison. ?Not to be to blunt, but a herd of cows owned by a prison in the deep south where people of color are disproportionately incarcerated and used for free labor?I don’t know if it will come through to the audience this way, but the work is layered with meaning to me.