“In Real Life” Featuring Art Practice Faculty and Staff Opens Wednesday, October 10th, 2018

In Real Life

Featuring Faculty and Staff of UC Berkeley Department of Art Practice:

Jose Figueroa, Christian Frock, Edith Garcia, Dana Hemenway, Randy Hussong, Liz Linden, Cathy Lu, Indira Martina Morre, Craig Nagasawa, Greg Niemeyer, Shari Paladino, Ehren Tool

Special Feature Exhibitions:

Kenyatta A.C. Hinkle
The Evanesced: Retrieval

Jill Miller
Human Subjects

Exhibition: Wednesday, October 10th – Thursday November 1st, 2018
Opening Reception and Performances: 4 – 7pm, Wednesday, October 10th, 2018

Worth Ryder Art Gallery, 116 Kroeber Hall, UC Berkeley Campus
Free and Open to the Public

 

Craig Nagasawa, “Ski Racer”, 2018. Mezzotint, chinecolle, copper leaf, gampi, edition of 20, image: 8” x 10”, paper 12” x 18”.

 

The UC Berkeley Department of Art Practice is pleased to present In Real Life, showcasing the diverse approaches to artmaking of the faculty and staff of the UC Berkeley Department of Art Practice.

We are also excited to announce two special feature exhibitions by our newest faculty members, Assistant Professor of Painting Kenyatta A. C. Hinkle and Assistant Professor of Art Practice Jill Miller.

 

Kenyatta A.C. Hinkle, “The Evanesced: The Retrieval #101”, 2018. India Ink on Dura-Lar.

 

Kenyatta A. C. Hinkle’s The Evanesced: Retrieval features an extensive series of drawings and a video that bring attention to a painful subject: missing black women in America and the African diaspora, historically to the present day. To evanesce means to disappear gradually, vanish, or fade away—an apt description of how society renders black women invisible.

Hinkle creates abstract “un-portraits” of elusive figures, drawing them with handmade brushes while dancing to blues, hip-hop, and Baltimore Club music. The images pivot between real and imagined narratives representing thousands of black women who have disappeared due to colonialism, human trafficking, homicides, and other forms of erasure.

Earlier iterations of The Evanesced have been exhibited at the California African American Museum in 2017, the BALTIC Centre for Contemporary Art in 2017, and The San Francisco Arts Commission in 2018.

 

Jill Miller, “Electrical Cord Made Safe”, 2018. Digital photograph of felt and thread object.

 

Jill Miller‘s practice playfully explores the conflicts inherent to being an artist and mother, and subverts the restrictive, socially-mediated definitions imposed on these roles. She frames parenting struggles as a catalyst for making art, rather than an obstacle to overcome.

Human Subjects features Being Human (2018, ongoing), a collection of photographic documentation and sculptural objects created by ten artist/parents during a series of workshops Miller is currently directing at the Palo Alto Art Center. Exploring the psychosocial development of their children and themselves, Miller and her collaborators have created work that celebrates and/or memorializes familiar life experiences, including Objects Made Safe – recreations in soft materials of “dangerous” objects confiscated from their kids.

Also on view is the alternately hilarious and infuriating video Unsung Hero (2014), which appropriates eye-popping clips of extreme sports from the GoPro editing app. These hypermasculine clichés are juxtaposed with GoPro shots of the artist blearily performing domestic and child rearing duties.

Please join us for an Opening Reception: 4 – 7pm, Wednesday, October 10th, 2018!

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