Posted October 21, 2015 by Editorial Staff in 2015

Museum of the African Diaspora (MoAD) presents Who Among Us…The Art of Kenyatta A.C. Hinkle | Nov 11 – Mar 3


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Nationally Acclaimed Artist Exhibits Alongside Alison Saar: Bearing and the Two Winners of MoAD’s Emerging Artists Program; Concurrent Exhibitions Run Nov. 11, 2015 – April 3, 2016

SAN FRANCISCO (Oct. 12, 2015) – The Museum of the African Diaspora (MoAD) announced today the museum’s second solo exhibition for the fall/winter season: Who Among Us… The Art of Kenyatta A.C. Hinkle. The collection of 33 works joins Alison Saar: Bearing and the winning entries from the MoAD’s inaugural Emerging Artists Program: Four Themes (Tim Roseborough) and Ghosts/Ships (Cheryl Patrice Derricotte). The four concurrent exhibitions run Nov. 11, 2015–April 3, 2016; Four Themes is on view Nov. 11–Jan. 18, and Ghosts/Ships from Jan. 27–April 3.

“We’re so excited to present Who Among Us… alongside Alison Saar’s exhibition as well as the finalists from our first-ever Emerging Artists Program because they complement each other so well,” said MoAD’s Executive Director Linda Harrison. “Contemporary interrogations of the past thread these exhibitions together, with each artist providing a unique and innovative perspective on how history can inform new artistic practices.”

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Kenyatta A.C. Hinkle, The Sower, India ink, acrylic paint, and polyfilm on wood panel, 11×14 inches.
Courtesy of Jenkins Johnson Gallery and the Artist

Who Among Us… The Art of Kenyatta A.C. Hinkle
Who Among Us… The Art of Kenyatta A.C. Hinkle is an exhibition that focuses on artwork as a tool to undo the mythologies and imaginings placed onto the colonized body. Featuring work from three projects including The Uninvited Series, The Kentifrica Project and The Tituba Series, Hinkle navigates 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.

The Uninvited is a series re-constructing narratives of WestAfrican ethnographic photography which took place in the late 19th and early 20th centuries. Hinkle manipulates the scale of the images and creates interventions through drawing andpainting on top of the photos to interrogate the power dynamics between the gaze, the subject and the viewer.

This exhibition is inspired and conceptually framed around the esteemed poet Lucille Clifton’s “Here yet bedragons” from The Book of Light (1993). Here is an excerpt: “Who among us can imagine ourselves unimagined? Who among us can speak with so fragile tongue and remain proud?” It is through a fragile tongue that Hinkle is able to reimagine politics and the writings of history.

About Kenyatta A.C. Hinkle
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 relation to historical events and contexts. She  received her MFA in art and critical studies/creative writing at the California Institute of the Arts through its Interschool program. She was featured on Huffington Post’s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know.

Alison Saar, Undone, 2012, fiberglass, cotton dress, found chair and objects © Alison Saar, image courtesy of L.A. Louver, Venice, Calif.

Alison Saar, Undone, 2012, fiberglass, cotton dress, found chair and objects
© Alison Saar, image courtesy of L.A. Louver, Venice, Calif.

Alison Saar: Bearing
Alison Saar: Bearing explores how identity is formed and how the legacy of history both shapes and guides the way society conceptualizes individuals. Primarily featuring her installation work, Alison Saar utilizes found objects such as sugar sacks, mops and buckets to merge the historical past with contemporary bodies.

Undone is a highlight of Alison Saar: Bearing in which Saar creates a black female figure that levitates overhead, sitting on a chair hung from the wall. The edges of her translucent white gown (which cascades 16 feet to the ground) are stained red as though soiled by blood from an umbilicus-like “cord” made from tree branches. Undone is an extension of Saar herself, as the woman gravitates toward a transformational moment when the old begins to fade and the new comes to fruition.

“Alison Saar explores history not only through the formal composition of her work, but she also relies on various mediums to tell stories,” said MoAD’s Director of Exhibitions Emily Kuhlmann. “With most of the pieces created in the last five years, this exhibition shows that Saar’s practice is as much related to American history and womanhood as it is an engagement with materiality.”

In many of the works presented, the figure is the centerpiece. The body and its organs become common denominators as Saar exposes the historical “weight” that individuals bear due to their identities. Saar focuses literally and metaphorically on the weight of bodies, both in solid and liquid form. This focus on weight references the burdens inherent in the human exchange of ideas and history.

Saar utilizes materials such as glass and tar while also incorporating non-manipulated elements like cotton to create both large-scale and smaller sculptural work. The historical attachments associated with such materials provoke conversation about the burdens endured by African Americans stemming from the legacy of slavery and racial discrimination, both past and present.

About Alison Saar
A renowned African-American artist, Alison Saar was born and raised in Los Angeles, where she also currently resides. Her work has been featured in multiple exhibitions, including those at the UCLA Fowler Museum of Cultural History, L.A. Louver Gallery and Pasadena Museum of California Art. She was named a Fellow of the United States Artists in 2012, earned her B.A. from Scripps College in 1978 and a MFA from Otis Art Institute in 1981.

Tim Roseborough, Show Me The Race, Green One (from the "Pan-African" series), 2011, Archival Inkjet  Print, 24 in x 18 in.

Tim Roseborough, Show Me The Race, Green One (from the “Pan-African” series), 2011, Archival Inkjet Print, 24 in x 18 in.

MoAD’s Emerging Artists Program
MoAD recently announced Tim Roseborough and Cheryl Patrice Derricotte as the winners of the museum’s inaugural Emerging Artists Program. The two San Francisco Bay Area artists were selected among 45 applicants for the opportunity to exhibit at MoAD.

Applicants submitted works that address the cultural and artistic richness of the African Diaspora which elaborated on MoAD’s four themes: origins, movement, adaptation and transformation. Roseborough is the first artist to exhibit in the museum’s multipurpose artwork space in the Salon gallery. His Four Themes exhibition is on view Nov. 11, 2015–Jan. 18, 2016. Derricotte’s exhibit, Ghost/Ships, is on view Jan. 27–April 3, 2016.

Four Themes
San Francisco-based Tim Roseborough literally leveraged MOAD’s mission and four themes by translating them into his unique Englyph writing system. Four Themes is one of the two collections of works that consists of seven digital prints and an animated video that joins all of the artwork thematically. His practice includes a series of artworks rendered in Englyph – a conflation of “English” and “hieroglyphics.”

Englyph was inspired by hieroglyphics – the hermetic language system of Egypt – whereby he weds the ancient tradition to contemporary digital culture. Englyph is a part of his ongoing effort to balance the worlds of form and idea in artworks that are both visually appealing and conceptually rigorous.

Roseborough is a digital artist whose work has been featured in numerous publications such as the San FranciscoChronicle, Artforum and SF Examiner. He has performed and showcased at the 2010 and 2012 ZERO1 New Media Biennials, San Francisco Museum of Modern Art and SOMArts Cultural Center, among others. He hasawarded residencies at the Kala Art Institute in Berkeley and the School of Visual Arts in New York.

Cheryl Patrice Derricotte, “Afrikan.” Glass, 5” x 7” (2014)

Cheryl Patrice Derricotte, “Afrikan.” Glass, 5” x 7” (2014)

Cheryl Patrice Derricotte pays homage to Fred Wilson’s Mining the Museum by “mining the library” (the British Library) for images related to the global slave trade. This show includes approximately 20 works that reveal images of people from African descent who come from diverselocales and were involved in the slave trade.

Images of slave ships and oceans reveal how the art and culture of the African people have been dispersed all over the world. The exhibit will include portraits of enslaved people from the Diaspora, ships, oceans and botanical illustrations of cotton, which was a central crop to the institution of slavery and the basis of much of the early craft art.

Originally from Washington D.C., Derricotte is a visual storyteller who currently resides in Oakland, Calif. She holds a MFA from the California Institute of Integral Studies (CIIS) and has been awarded Art Alliance for Contemporary Glass’ Inaugural Visionary Scholarship and a D.C. Commission on the Arts & Humanities /National Endowment for the Arts Artist Fellowship Grant. She’s exhibited at the Smithsonian Museum of Natural History, Florida State University Museum of Fine Arts and the San Francisco Airport Museum.

Pictured at top of page: Four Themes; Ghost Ships; Who Among Us…The Art of Kenyatta A.C. Hinkle; Alison Saar: Bearing

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