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.
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This event will take place online only. After booking a ticket, you’ll receive a printable PDF of images. Please print these out before the workshop, and bring them with you along with scissors, paper, tape/glue and any other art materials you’d like to use.
Don’t have access to a printer? If you’re in the UK, we have a small number of free pre-printed packs for posting – just let us know if you need one when you book your ticket. The last date we can mail pre-printed packs is Monday 9 November.
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.
Delphine Sims and Haley Moyse Fenning are two friends and an aspiring transnational collective committed to engaging diverse publics with vital, innovative ideas from contemporary artists. Our collective is built on an interdisciplinary framework underwritten by Black feminist theory, critical race studies, histories of art and visual culture, disabilities studies, decolonisation, and museum studies. @smiledelphine @haleyemf
Delphine is a curator and scholar based in San Francisco’s Bay Area. She is a PhD Candidate at the University of California, Berkeley where she researches the ways in which race, gender, geography, and urbanity redefine landscape photography. Her dissertation focuses on these themes in the work of artists Carrie Mae Weems, Nona Faustine, LaToya Ruby Frazier, and Xaviera Simmons. Most recently, Delphine co-organized the exhibition About Things Loved: Blackness and Belonging (2019) at Berkeley Art Museum and Pacific Film Archive (BAMPFA) and she previously held positions in the photography departments of San Francisco Museum of Modern Art (SFMOMA) and Santa Barbara Museum of Art (SBMA).
Haley is a cultural producer and educator based in Brighton, England. She credits an encounter with the work of Rashid Johnson for her passion for the contemporary visual arts and decision to return to graduate school for her MA in Art History and Museum Curating (University of Sussex, 2019). Since then, she has worked directly on a number of high-profile public programmes including bridge-s by Solange with Gerard & Kelly and Art as Transformation: Photography for Social Change with LaToya Ruby Frazier at J. Paul Getty Museum, Los Angeles. Haley was recently selected for a CHASE Collaborative Doctoral Award in partnership with Towner Eastbourne.
Haley Moyse Fenning
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Each year, Autograph has an Open Call for event proposals from emerging cultural producers who are working on a new or early stage project. For successful applicants, Autograph provides a budget, curatorial fee, and support to help make the event happen. This event is a result of our 2020 Open Call.
Images, from top: 1) Ma:Mum, 2019, THEY Series, Courtesy of KACH Studio. 2) Kenyatta A.C. Hinkle. 3) Delphine Sims, photograph by Cassandra Barragan. 4) Haley Moyse Fenning.