Starting on Sunday, August 7th KACH Studio: Sonic Retrieval will offer a series of online sound baths that focus on grieving in the midst of the pandemic. We will be offering a ritual not only to create sonic space for processing grief but to also hold space for intimacy within personal healing regarding mind, body, and chakra systems. Kenyatta A.C. Hinkle is a certified sound therapist and will be using a Dark Water and Dusk Gong, an assortment of planetary gongs, as well as crystal singing bowls, tuning forks, rattles, and various instruments to offer a unique virtual experience. Those who want to contemplate the impact of QTBIPOC death historically and presently and grieving, in general, can participate via cultivating deep listening as a form of witnessing and inner retrieval.

Get your tickets now! Spots are first come first served. You don't want to miss this unique healing experience! Tune in from wherever you are and feel free to spread the news to folks who need some sonic healing!

The Art Galleries at Black Studies (AGBS) invites guests to attend a free virtual workshop with Kenyatta A.C. Hinkle, whose artwork is on view in "The Black Index." Hinkle will introduce participants to her artistic practice and interest in the everyday objects we carry with us.

The Department of Art and Art History is dedicated to developing students' critical thinking, creativity, visual literacy, technical skills, and knowledge about the history of art. Join us October 18 an artist talk with Visiting Artist, Kenyatta A. C. Hinkle.

The artists featured in The Black Index—Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas—build upon the tradition of Black self-representation as an antidote to colonialist images. Using drawing, performance, printmaking, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and understanding. Their works offer an alternative practice—a Black index—that still serves as a finding aid for information about Black subjects, but also challenges viewers’ desire for classification.

The Evanesced: Embodied Disappearance is a suite of performances that channels and evokes the presence of various womxn navigating historical and contemporary contexts. Each performance is a memorial of a particular aspect/challenge of erasure. Each performance is accompanied by a soundtrack of whispers, shuffles, and snippets of popular and underground music, adding another dimension to her emotional examination of a fraught part of the black femme experience.

This exhibition theorizes and recognizes experimental subject bibliography—projects that explore artifactual, intellectual, spatial, and design possibilities simultaneously—as an artistic and poetic practice. It hones in on a niche territory that has blossomed in recent history, reviewing fifteen compelling visio-biblio-centric projects undertaken by artists, writers, designers, and other cultural workers

During this pivotal time of civil unrest and the continued questioning of violence inherent within existing monuments dedicated to conquest, supremacy and subjugation, interdisciplinary visual artists, Kenyatta A.C. Hinkle, and Lava Thomas will be in conversation concerning dismantling the hegemonic factors within public art selection and who determines what monumental is. Presented by the UC Berkeley’s Department of Art Practice and Wiesenfeld Visiting Artist Series.

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The Dialogue Series investigating inheritance in the public sphere continues with a consideration of generational experiences and migration stories. Speakers, including comedian and director Kiran Deol, and artists Jordan Nassar and Kenyatta A.C. Hinkle, contend with individual migration stories in different ways using imagination, visualization, and storytelling. In this discussion we consider the psychological experience of migration across generations as a kind of inheritance that informs our lives and relationships in social contexts.

Bringing together the work of twenty-eight artists of African descent, Black Melancholia expands and complicates the notion of melancholy in Western art history and cultures. Including new commissions as well as painting, sculpture, film, photography, works on paper, and sound, from the late 19th century to the present day, the exhibition opens a dialogue with traditional art historical discourses around the representation of melancholia.

The artists featured in The Black Index—Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas—build upon the tradition of Black self-representation as an antidote to colonialist images. Using drawing, performance, printmaking, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and understanding. Their works offer an alternative practice—a Black index—that still serves as a finding aid for information about Black subjects, but also challenges viewers’ desire for classification.

Join the Palo Alto Art Center and Hunter College Art Galleries for a virtual book launch celebrating The Black Index, co-published by the Hunter College Art Galleries and Hirmer Verlag, featuring the work of artists Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas.

The event will feature a conversation with the publication editors, Bridget R. Cooks, curator of The Black Index and Sarah Watson, Chief Curator of the Hunter College Art Galleries with appearances by catalogue contributors Re’al Christian, CalvinJohn Smiley, Vivian Sming, and Ella Turenne. A discussion will follow focused on the Redaction font commissioned by Titus Kaphar and Reginald Dwayne Betts and featured in The Black Index with the designers who created it: Forest Young, Global Principal and Head of Design at Wolff Olins and Jeremy Mickel, Type Designer and owner of MCKL; moderated by Stephen Coles, Associate Curator at Letterform Archive in San Francisco.

*Postponed to Fall 2021* Arts + Design Mondays is organized and sponsored by UC Berkeley’s Arts + Design Initiative. The series is co-curated by the African American Student Development Office; Berkeley Art Museum + Pacific Film Archive; Berkeley Center for New Media and the History and Theory of New Media Lecture Series; College of Environmental Design, the Arcus Endowment Diversity Platform Committee and the Arcus Chair in Gender, Sexuality, and the Built Environment; Department of Theater, Dance, and Performance Studies; Future Histories Lab, a project of UC Berkeley Global Urban Humanities Initiative; Graduate School of Journalism; California Humanities and Villa San Francisco. Technical support and presentation offered by UC Berkeley College of Letters & Science, Division of Arts & Humanities. The 2021 series of Arts + Design Mondays is made possible thanks to the generous financial support of Nancy Olson and Buzz Wiesenfeld. In-kind support provided by BAMPFA.

The History of Art Lecture Series presents a lecture by Bridget Cooks, University of California, Irvine, at 6 pm EST. Join us for a conversation about The Black Index exhibition. The exhibition artists use a variety of innovative approaches to address the paradox of being Black in America: to be human, but have little social value. We will take a closer look at the exhibition artworks by Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar and Reginald Dwayne Betts, Whitfield Lovell, and Lava Thomas, and discuss strategies to make art experiences impactful in the age of COVID.

The artists featured in The Black Index—Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas—build upon the tradition of Black self-representation as an antidote to colonialist images. Using drawing, performance, printmaking, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and understanding. Their works offer an alternative practice—a Black index—that still serves as a finding aid for information about Black subjects, but also challenges viewers’ desire for classification.

On October 29, 2020, the Place for Writers hosted a discussion and question-and-answer session over Zoom with interdisciplinary visual artist, writer and performer Kenyatta A.C. Hinkle. Hinkle has a dual MFA in Art and Critical Studies/Creative Writing from CalArts and is the author of two books: “Kentifrications: Convergent Truth(s) and Realities,” about a “contested geography/continent” called Kentifrica, and “Sir,” a biographical collection of poetry and photography.

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This exhibition of work produced by artists of African descent is drawn exclusively from the highly regarded private collection of Bernard I. Lumpkin and Carmine D. Boccuzzi. Although many works in the Lumpkin-Boccuzzi Family Collection have been lent to museums over the years, Young, Gifted and Black is the first stand-alone public exhibition curated from this exceptional collection. Young, Gifted and Black showcases works, in a variety of mediums, by emerging artists, alongside works by established artists who have paved the way for the younger generations.

The Hunter College Art Galleries are pleased to announce the traveling group exhibition The Black Index featuring the work of Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas. The artists included in The Black Index build upon the tradition of Black self-representation as an antidote to colonialist images. Using drawing, performance, printmaking, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and understanding. Their works offer an alternative practice—a Black index—that still serves as a finding aid for information about Black subjects, but also challenges viewers’ desire for classification.

This event has been canceled due to unforeseen circumstances. We apologize for any inconveniences this may have caused.

Interdisciplinary visual artists Kenyatta A. C. Hinkle and Lava Thomas will continue their November discussion regarding the dismantling of hegemonic factors within public art selection and looking at who determines what is “monumental.”

ONLINE PANEL–The Black Index Exhibition presents a special conversation with the two Bay Area artists. Curator Bridget R. Cooks will lead a conversation between artists Kenyatta A.C. Hinkle and Lava Thomas about their work, The Black Index exhibition, and the role of artistic representation in acknowledging, honoring, and celebrating Black women.

Becoming Buoyant centers water as a symbol of life, departure, and return for Black bodies of the diaspora; how water functions simultaneously as a site of freedom and leisure, ritualistic healing, and generational trauma. The collected works present varied contextual relationships to the physical, spiritual, and psychological realm, that describe the process of becoming buoyant as an act of resistance, and the need to find freedom in an unrelenting tide as an act of survival for lives swept up in the wake.

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.

Galvanized by the Black Lives Matter movement, a number of collective actions this year have sought to identify, dismantle, and remove colonial statues. This workshop is a meeting point for reflection and radical action, exploring how art production can be another means to ‘destroy’ these symbols of Western imperial power. In a conversation facilitated by Delphine Sims and Haley Moyse Fenning, California-based artist Kenyatta A.C. Hinkle will discuss the idolisation of colonial monuments before diving into a hands-on collage workshop. Participants will be encouraged to cut, paste, draw, paint and juxtapose imagery of colonial statuary, reimagining how this history can be represented – and reclaimed.

Drawing the Ghost presents nearly 50 works from 18 artists employing varying modes of drawing to explore ideas of Race, Class, Gender, Futurism, Celestial phenomena, History and other concepts. This is Pruitt's first curated exhibition with the gallery. Says the artist, "This exhibition merges with my own art practice through the selection of artists who work with the human figure as a foundation. Similarly, the selected artists carefully use humor and juxtaposition in their work. These are artists I have known and have admired for some time. They create alluring images, apply complicated conceptual strategies, and illustrate narratives from the margins of our social and cultural landscapes.

Artist Kenyatta A.C. Hinkle offers a tour of her Oakland studio. See where the 2019 SECA art award winner and her son draw, paint, dance, experiment, and inspire

The 2019 SECA Art Award exhibition features three Bay Area artists, each with a dedicated gallery: Kenyatta A.C. Hinkle, Sahar Khoury, and Marlon Mullen. Kenyatta A.C. Hinkle's interdisciplinary practice explores “the historical present,” her term for the persistent residue of history in contemporary life.