Kenyatta A.C. Hinkle is an interdisciplinary, Los Angeles-based visual artist, writer, and performer who is interested having a conversation about the complexities of history and power. Her work is woven from historical and contemporary narratives that raise questions concerning our collective encounters with the black female body and its relationship to the exotic. It explores personal narratives from the artist intermingled with known and unknown historical figures in relationship to notions and constructions of the black female body as a prototype for both exotic beauty and repulsion. Her series The Uninvited reconstructs narratives of late 19th century and early 20th century West African ethnographic photography taken mainly by French colonialists. Through the embellishment of these photos, Hinkle uses the metaphor of disease to represent colonialism and the poetic interpretation of a virus entering the body. Hinkle interrogates the power dynamics between the gaze, the subject, and the viewer.
Hinkle’s work was shown in The Studio Museum in Harlem’s Fore exhibition, and she was the youngest participant in the Made in LA2012 biennial at the Hammer Museum in Los Angeles. She will have a solo exhibition at the Museum of Art at University of New Hampshire opening in September 2015. Her artwork and performances of experimental texts have been reviewed by the The New York Times, Los Angeles Times, Artforum, and LA Weekly, and she was a finalist for the 2013 Los Angeles Artadia Award. She was listed on The Huffington Post’s “Black Artists: 30 Contemporary Art Makers Under 40 You Should Know.”
One hundred drawings by Kenyatta A.C. Hinkle of 100 missing African American women simultaneously startle and beguile. Their subject represents the tip of a statistical iceberg of almost unfathomable scope — thousands of black women disappear every year in the United States, whether through criminal activity or for other motives, but their names and faces most often remain obscure.
While contemporary art in its purest definition belongs to the present, it often proves difficult to disentangle the present moment from history. Artist Kenyatta A.C. Hinkle understands this — and she embraces it fully. She’s made it the crux of her work, giving the past and present equal footing and importance in her artistic production.
The California African American Museum kicks off its exhibition cycle this Wednesday with shows about the 1992 LA Uprising and historical disappearance of African-American women.
In her upcoming work, The Evanesced, debuting March 2 at the California African American Museum in Los Angeles, Hinkle calls attention to Black women who go missing as a result of sex trafficking and domestic abuse. Her archival photographs and drawings capture a sense of joy and trauma.
Impressions: African American artists and their connection to African Art
Featuring artwork by Andrea Chung, Kenyatta A.C. Hinkle and Robert Pruitt and artifacts from the San Diego Mesa College African Art Collection
Co-curated by Alessandra Moctezuma and Denise Rogers, Ph.D.
February 9 – March 1, 2017
Reception: Thursday, February 9, 4:30 – 6:30 pm, Art Gallery D101
Artists’ Lecture at 6:30 pm following reception.
BLACK PORTRAITURE[S] III: Reinventions: Strains of Histories and Cultures is the seventh conference in a series of conversations about imaging the black body. It offers a forum that gives artists, activists, and scholars from around the world an opportunity to share ideas from historical topics to current research on the 40th anniversary of Soweto. Presenters will engage a range of topics such as Biennales, the Africa Perspective in the Armory Show, the global art market, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography.
The conference will be held November 17-19, 2016 in Johannesburg and held in collaboration with the U. S. Department of State, U.S. Ambassador to South Africa, Patrick H. Gaspard, Goodman Gallery, Hutchins Center for African & African American Research/Harvard University, New York University’s LaPietra Dialogues, Tisch School of the Arts and the Institute of African American Affairs.
Litmus Press selects Kenyatta A.C. Hinkle's book SIR for publication, Fall 2017. Litmus calls her manuscript "timely and resonant with [their] mission... The cross-genre SIR articulates an intimate familial history that speaks urgently to the vulnerability of the black male body in the ongoing crisis of U.S. racial politics."
The fourth edition of the 1:54 Contemporary African Art Fair in London opened Wednesday morning at Somerset House, the neoclassical palace overlooking the River Thames. This year, 1:54 is showcasing 40 galleries from 18 countries, representing a diverse spread of the vast African continent and its diaspora in the Victorian east and west wings of the Tudor mansion.
Letters, hand-written, stamped and posted, are archaic throwbacks to a culture we nostalgically dub ‘slowness’ – slow food, slow beer, slow sex, slowed down hand-made things. The art gallery however has remained largely immune to this threat to slowness. Instead, in a witheringly ephemeral world the art gallery has thrived as the uber trading hub, temple, and outpost for the authenticity and provenance of things. An ‘alternative religion for atheists’, Sarah Thornton notes in Seven Days in the Art World, it is a reminder that faith in the fetish object, its ritualised practice, culture and economy, remains very much alive.
Hinkle’s work focuses on perceptions and misperceptions of the black female body, tackling issues of race head-on. She’ll give an artist talk Sept. 18 at 6:30 p.m. in the Moss Arts Center’s Merryman Family Learning Studio.
Atlantic Center for the Arts is a nonprofit interdisciplinary artists' community and arts education facility dedicated to promoting artistic excellence by providing talented midcareer artists an opportunity to work and collaborate with some of the world's most distinguished contemporary artists in the fields of music composition, and the visual, literary, and performing arts. Community interaction is coordinated through on-site and outreach presentations, workshops and exhibitions.
San Francisco’s Jenkins Johnson Gallery presents Kenyatta A. C. Hinkle’s intimate collages which interrogate narratives around the black female body, history and power. In these works, the tactile collage technique operates to dismantle any fixed notions of identity, instead bringing about new and transformative visions that forcefully challenge stereotype and convention.
London’s biggest festival of contemporary African culture has returned with a bang for its fourth edition; taking place at Somerset House, one of London’s most iconic venues, 1:54 has established a reputation as a place of discover and the key place to acquire contemporary African art in Europe. This year, What’s On Africa contributor, Luar Klinghofer was at the fair, to bring you highlights from the first few days.
This, a Special Issue of TAYO Literary Magazine, in support of the #SayHerName movement, focuses exclusively on the lives of black women affected by their interactions with State sanctioned violence on the street.
In it, find salient vignettes from Jasmine Evans, a Hurston Wright Founding Members Award finalist in Fiction; fellow Co–Guest Editor rahdiyah ayobami, a critical essay from the Amanda Davis Prose finalist; gorgeously unrelenting poetry from Zoe Flowers, Tara Betts, Kira Allen, Melodic Rose; raw, brilliant, and visceral art from the interdisciplinary visual artist, writer, and performer Kenyatta A.C. Hinkle; and other black women writers raising their voices in cacophonic unison from across the nation. They write over the silence.
Rema Hort Mann Foundation (RHMF) is thrilled to announce the recipients of the 2016 Emerging Artist Grant in Los Angeles. Each grantee receives a $10,000 unrestricted grant for demonstrating critical and rigorous work as well as an ability and commitment to making substantial contributions in the arts.
Los Angeles-based Kenyatta A. C. Hinkle’s first solo exhibition in San Francisco features samplings from three concurrent bodies of work and includes mixed-media works on paper and wood panel, alongside a series of artifacts and objects. Hinkle’s largely figurative images combine photographic imagery with hand-drawn and painted details to create fantastical female figures of wonder.
To illuminate the problem with exoticizing women of color, it is sometimes necessary to employ visual art as a vehicle for under- standing issues that are too provocative to talk about. Full disclosure, I am a white woman. For this reason, I walk in a casing that allows for the privilege of not being “exoticized” as a person of color. Although, as a woman I am not without the burden of being objectified, I cannot overlook the history that separates my privilege from the history inscribed on a black woman’s body. To that end, when women talk about their bodies, the under recognized power of the Other lingers, demanding to be heard. For their concurrent solo exhibitions at the Museum of the African Diaspora, Los Angeles based artists Alison Saar and Kenyatta A. C. Hinkle focus on the African American, and African, woman’s body as a carrier of profound stories to create narratives that provoke awareness and revere both the beautiful and ugly sides of history.
I AM USING MY FIRST MONTHS IN NIGERIA to learn more about navigating Lagos, to cook Nigerian foods, and to learn the local mythologies. Over these past weeks I have met a few students who are excited about the Kentifrica Project and the potential for empowerment and the creative leadership that it brings. I have also been working closely with my host, Dr. Adepeju Layiwola—an artist, scholar, activist, and professor at the University of Lagos. I am learning so much about the effects of colonialism on Nigerian history and culture, specifically in relationship to Benin and royal court art that was taken from the royal palace in 1897 by the British. The clash between cultural ideas concerning what is considered art, and what has ritual and ancestral importance in relationship to power, display, and economic gain is astounding and informing my work immensely. I am also making connections between how I was raised in Kentucky and the foods in the American South that are influenced by the food I am eating here. The connections are so rich! Louisville is in Lagos, and vice versa.
After “re-imagining” their galleries, the Museum of the African Diaspora (MoAD) reopened yesterday with three solo exhibitions, featuring artists Tim Roseborough, Kenyatta A.C. Hinkle and Alison Saar. On a material basis, the trio’s work couldn’t be more different — from digital prints to rough-hewn figurative sculpture — but connective themes between the shows enrich each in turn, bridging generations, conceptual approaches and subject matter.
“I see you — anew,” Los Angeles artist Kenyatta A.C. Hinkle seems to say to the West Africans in photographs from the late 19th and early 20th centuries, which she alters, reimagines and reclaims with paint and India ink in her “The Uninvited” series.
Those works — along with pieces from “The Kentifrica Project” and “TheTituba Series” — are now on exhibit in “Who Among Us … The Art of Kenyatta A.C. Hinkle” at the Museum of the African Diaspora.
Artist Kenyatta A.C. Hinkle manipulates language, images, and myths to create a personal narrative presented in three bodies of work: The Kentifrica Project, THE UNIVITED SERIES, and drawings based on I, Tituba, Black Witch of Salem. Hinkle’s interdisciplinary artistic practice invites participation to explore issues of identity, culture, and geography.
I am sure there was the coolest smart art that I missed out on, these are works that were most visceral initially or came by frequency in tune with my radar and frequency. Beginning with Spring Break, moving on to Volta, a quick tour of the Armory Show, and Pulse. Spring Break was a break from the frowns and furs of the Armory, but really it wasn’t a break—I was there for hours upon hours.
Kenyatta A.C Hinkle is an interdisciplinary visual artist, writer, and performer who integrates cultural criticism, personal narrative, social practice, and historical research to interrogate structures of power concerning race and representation. Hinkle questions how these structures influence ideas of self through drawing, painting, collage, video, and performance. Hinkle conducts extensive experimentation and play to form several bodies of work simultaneousl
This exhibition examines constructions of racial identity to complicate popular rhetoric around race. The artworks interrogate oversimplifying binaries and destabilize the often unexamined position of “whiteness.” The artists deploy visual texts in the service of asking uncomfortable questions, reflecting upon identity, and asking the viewer to consider his/her own role in building, enabling, or perpetuating stereotypes. Invited artists are Sandra Brewster, Steve Cole, Andrea Chung, Brendan Fernandes, Vanessa German, Kenyatta Hinkle, Ayanah Moor, James Seward, and Alisha Wormsley.