Apr 12, 2017
Images from my trip to the California African American Museum! Also, got to meet Tyree Boyd-Pates!!! #CAAM #art #resist #KenyattaACHinkle #DerrickAdams #TyreeBoydPates #LA1992 #MLK (at California African American Museum)
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Images from my trip to the California African American Museum! Also, got to meet Tyree Boyd-Pates!!! #CAAM #art #resist #KenyattaACHinkle #DerrickAdams #TyreeBoydPates #LA1992 #MLK (at California African American Museum)
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Kenyatta A.C. Hinkle is an interdisciplinary visual artist, writer and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based upon her private experiences in relationship to historical events and contexts. A term that has become a mantra for her practice is the "Historical Present," as she examines the residue of history and how it affects our contemporary world perspective. Hinkle received her MFA in Art & Critical Studies Creative Writing from CalArts and BFA in Painting from the Maryland Institute College of Art. (text and images from http://www.kachstudio.com)
(top image) The Tituba Black Witch of Salem Series is rooted in Maryse Condé’s novel "I, Tituba: Black Witch of Salem", written in 1992. This piece of historical fiction captures the story of a woman of color who was a pivotal figure during the Salem Witch Trials. Fascinated by Condé’s depiction of Otherness, racism, gender, sexuality, as well as cultural and religious hegemony, Hinkle compiles an abstractly drawn narrative of Tituba’s experiences that intermingles with her own experience of inhabiting a black and pregnant body for the first time.
(middle two images) The Lineage of a Kneegrow Series is a body of work that interrogates the historical and contemporary labels that have been assigned to the black body. Riffing off of the homonym Negro/Knee Grow Hinkle creates an elusive identity that blurs fact and fiction allowing the viewer to enter into a a space in which the dichotomies between self-hood vs. collective history and the negotiation between survival and becoming through language take form. Hinkle utilizes performance, educational tools and office supplies to create intertextual dialogues concerning blackness. She also uses sources from: Blaxxploitation film, overheard conversations, racial slurs, rap music, pedigree charts, phrenology charts, religious texts, letters of complaint and overheard conversations.
(bottom two images) This series focuses on re-constructing the narratives that took place within late 19th century and early 20th century West African ethnographic photography taken mainly by French colonialist. The photo documentation and, sometimes exploitive constructions were mass produced on postcards and carte-de-vistes and distributed globally. Hinkle uses the metaphor of disease as a meditation on colonialism and postcolonialism interpreted through poetically drawing the act of a virus entering the body in question and rendering the body as a host, in which several mutations occur for the survival of the virus. She links this relationship to the French occupation of Africa and the black female body as a charted territory. Through manipulating the scale of the images and creating interventions through drawing and painting on top of the photos, Hinkle interrogates the power dynamics between the gaze, the subject and the viewer through a term that she has coined: The Historical Present. This term is a means to navigate the residue of history through examining the exotification, and the perception of the black female body when taken out of context through the view of the Other.
New work from The Uninvited Series will be featured in London at the art fair 1:54 October 6th-9th with @jenkinsjohnsongallery This piece is called The Uprising, 2016 18x24 mixed media. #KenyattaACHinkle #TheUninvited #KACHStudio
Just landed for my artist talk at Virginia Tech's Moss Art Center. The skinny pencil plane was so intense. My seat was right next to the propellers!!!!! Ahhhhhh!!!😳😳😳😳😳😳😳 I was scared as hell!!! LOL but I made it! #KenyattaACHinkle #ArtistTalk #KACHStudio (at Blacksburg, Virginia)
More footage of Exploring the Nowannago:Kentifrican Modes of Resistance performance. More angles are coming to light. 📸 by Downtown Santa Ana @tmostudio @grandcentralart #KenyattaACHinkle #TylerMatthewOyer #TheNowannago #TheDoubleNoose (at CSUF Grand Central Art Center)
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More Exploring the Nowannago with Tyler Matthew Oyer @tmostudio. Performance score by KREation Ensemble @kreation_ensemble #TheNowannago #TheDoubleNoose #Kentifricanperformance #KenyattaACHinkle #TylerMatthewOyer (at CSUF Grand Central Art Center)
Last night's performance was insanely intense. Thank you to all who came out to show their love and support. I am still trying to process what happened. The witnesses who charged the space with their eyes, their tears and their powerful energy was unparalleled. Every time we visit this piece no one knows what will happen. The rope kept tightening internally and externally. There were a few children present and I could not help but think of the parents, cousins, aunts and uncles who brought children to lynchings as an outing. I kept thinking about the banality of evil. About the imagination and what a rope can become. No one knew what was going to happen. It was so powerful to explain the piece to a child who has been protesting with her mother for BLM. I told her that the double noose is like the tension between the Black community and the police and that with this piece we are just making that tension/rope visible and all of ropes that we wear with one another and history. So much about last night will stay with me forever. I cannot tell you how many times the exchange of appreciation for the witnessing and the actual movement of the performance flowed back between Tyler and I and those present. Every time we do the piece it becomes more layered, more complicated, more relevant and more needed. I am in awe that an idea in my head for six years came alive in this chaotic year. The work tells us what, when and how to do it. We only have to listen. Even if it terrifies us. Doing the piece is no easy undertaking and I am exhausted in so many ways. But I am alive and so many are not walking this earth anymore. This humbles me and inspires me to continue Exploring the Nowannago. @tmostudio @grandcentralart 📸 by Chelle Barbour @chelle.barbour #TheNowannago #Kentifricanperformance #KenyattaACHinkle #TylerMatthewOyer #GCAC (at CSUF Grand Central Art Center)
Excited for our performance of Exploring the Nowannago: Kentifrican Modes of Resistance this Saturday at The Grand Central Art Center in downtown Santa Ana! Tyler Matthew Oyer and I will be activating the exhibition in an intense, powerful and challenging way! Performance starts at 7:30pm show will be on view til early October! Hope to see you there!!!@tmostudio @grandcentralart @jenkinsjohnsongallery #KenyattaACHinkle #TylerMatthewOyer #Kentifrica #LAArtists #TheNowannago #Kentifricanperformance