Fault Lines: Photography, Memory, and Fragility / October 22

 

Saturday October 22nd, 1-5pm, followed by a reception

Roosevelt House Public Policy Institute at Hunter College
47-49 East 65th Street
New York, NY

Please RSVP to the event here.

 

Dawoud Bey, Fifth Avenue and East 125th Street, 2015, from Harlem Redux. Courtesy, Sean Kelly Gallery

 

About this event

The recuperation of marginalized and fractured histories through photography prompts us to re-interrogate the image and understand its narrative power. This conversation invites artists, curators, and scholars whose recent projects have demonstrated how photography can contribute to the excavation of forgotten histories and shed light on current issues of global migration and displacement. Our discussion pursues many venues, ranging from the scholarly reappraisal of an important history of Black photography through the Kamoinge Workshop, to contemporary curatorial practices that are investigating artists’ involvement with environmental fragility, to the spatial exploration of histories of migration and mourning in the African diaspora, to artworks that provoke us to make connections between memory and sociopolitical histories. The conversation is prompted by a recent Hunter College publication on Harlem’s 125th Street, which has studied photography as a form of belonging to place. We are aiming to foster a debate over the powerful significance of photography to memorialize histories that are brittle and sustain ongoing narratives that explain our relationship to place.

Organized by Antonella Pelizzari, Professor, Department of Art and Art History, Hunter College

 

Hunter MFA & BFA Open Studios / October 15

 

205 Hudson Street
New York, NY
October 15, 3 – 9pm

 

More than 120 studios will be open, showcasing the work of MFA & BFA students.

Be sure to see the exhibition in the ground floor gallery featuring current students. 
All works for sale, and proceeds will benefit our student organizations.

In accordance with CUNY policy, all guests must show valid proof of vaccination upon entry. 
Minimum requirement is two does of Moderna or Pfizer; or one dose of J&J. Masking is encouraged.
No pets allowed unless they are ADA service animals.
Doors will close at 8:30pm. All visitors must vacate the building by 9pm.

 
 
Hunter College MFA & BFA Studios / 205 Hudson Street (Entrance on Canal Street) / New York City

Guadalupe Maravilla / Zabar Visiting Artist October 19

Guadalupe Maravilla is a transdisciplinary visual artist, choreographer, and healer. At the age of eight, Maravilla was part of the first wave of unaccompanied, undocumented children to arrive at the United States border in the 1980s as a result of the Salvadoran Civil War. In 2016, Maravilla became a U.S. citizen and in 2016 he adopted the name Guadalupe Maravilla in solidarity with his undocumented father, who uses Maravilla as his last name. As an acknowledgment to his past, Maravilla grounds his practice in the historical and contemporary contexts belonging to the undocumented and cancer communities.

Maravilla currently lives in Brooklyn, New York. His work is in the permanent collections of the Museum of Modern Art, The Guggenheim Museum, the Whitney Museum of American Art, Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Institute of Contemporary Art, Miami. Additionally, Maravilla has performed and presented his work at the Whitney Museum of American Art, MoMA, Metropolitan Museum of Art, Institute of Contemporary Art Miami, Queens Museum, Bronx Museum of the Arts and many more.

Awards and fellowships include; The 2021 Joan Mitchell Fellowship, LatinX Fellowship 2021, Lise Wilhelmsen Art award 2021, Guggenheim Foundation Fellowship 2019, Soros Fellowship: Art Migration and Public Space 2019, Map fund 2019, Creative Capital Grant 2016, Franklin Furnace 2018, Joan Mitchell Emerging Artist Grant 2016, Art Matters Fellowship 2017, Virginia Museum of Fine Arts Fellowship 2018. Residencies include; LMCC Workspace, SOMA, Skowhegan School of Painting and Sculpture and Drawing Center Open Sessions.

_______________

Guadalupe Maravilla es artista visual transdisciplinario, coreógrafo, y sanador. A los ocho años, Maravilla fue parte de la primera ola de niños indocumentados que llegaron a la frontera de los Estados Unidos en los 1980 ‘s, en consecuencia de la Guerra Civil de El Salvador. En 2016, Maravilla se hizo ciudadano Estadounidense y en 2016 adoptó el nombre Guadalupe Maravilla en solidaridad con su padre indocumentado, que usa el nombre Maravilla como apellido. Como reconocimiento a su pasado, Maravilla basa su práctica en los contextos históricos y contemporáneos de la comunidad indocumentada y la comunidad de cáncer.

Maravilla en la actualidad vive en Brooklyn, Nueva York. Sus obras están en las colecciones permanentes del Museum of Modern Art, The Guggenheim Museum, el Whitney Museum of American Art, el Museo Nacional Centro de Arte Reina Sofía, Madrid; y el Institute of Contemporary Art, Miami. Adicionalmente, Maravilla ha hecho performances y ha presentado obras en el Whitney Museum of American Art, MoMA, Metropolitan Museum of Art, Institute of Contemporary Art Miami, Queens Museum, Bronx Museum of the Arts, y muchos más.

Premios y becas incluyen; El 2021 Joan Mitchell Fellowship, LatinX Fellowship 2021, Lise Wilhelmsen Art award 2021, Guggenheim Foundation Fellowship 2019, Soros Fellowship: Art Migration and Public Space 2019, Map fund 2019, Creative Capital Grant 2016, y Franklin Furnace 2018. Residencias incluyen LMCC Workspace, SOMA, Skowhegan School of Painting and Sculpture y Drawing Center Open Sessions.

Photographic Portrait by: Emmanuel Sanchez Monsalve

Isaac Diggs & Edward Hillel: Time in Harlem opens September 14

September 14, 2022 – February 2023

Hunter East Harlem Gallery
2180 3rd Ave at 119th St.
New York, NY

“Two men with a camera, thoughtfully observing the visual cacophony of one major thoroughfare and the complicated interplay of its history, its present, and the certainty of change, have laid the groundwork for a dialogue and a vision that reaches farther than human eyes can see.” ~- Vicki Goldberg, 125th: Time in Harlem by Isaac Diggs & Edward Hillel (IDEH, 2014).

From 2008-2011, Isaac Diggs & Edward Hillel made photographs of one of the most iconic streets in New York City: 125th Street. Working collaboratively on film with a 4×5 field camera, the two artists meticulously captured the street during a tumultuous time in NYC after the financial crisis. The images document Harlem when the neighborhood was being sanctioned for rezoning by Mayor Mike Bloomberg and swallowed up by the ever-expanding Columbia University campus, forever changing this “main street” in profound and long lasting ways. The exhibition at Hunter East Harlem Gallery features a selection of the duo’s large-format photographs from their comprehensive 2014 publication, 125th: Time in Harlem. The exhibition re-contextualizes the book into the three-dimensional space of a gallery, showcasing a wall mural comprised of the entirety of their book in sequence as well as archives from the project itself. Through intentional and considered image-making, the duo confronts the audience with the challenges of urban flux, gentrification, the loss of cultural memory, the production of space and the preservation of community.
 

The exhibition coincides with the release of Hunter East Harlem Gallery’s publication, 125th Street: Photography in Harlem (Hirmer Verlag, 2022), which features many of Diggs & Hillel’s images as well as dozens of other artists who have documented the historic thoroughfare.
 

This exhibition is curated by Arden Sherman. Generous support has been provided by the Hunter College Department of Art and Art History, the Anna-Maria and Stephen Kellen Foundation, and the Hunter College Advanced Certificate in Curatorial Studies Program.

Book Launch Party: September 14, 6-9PM

 
125th Street: Photography in Harlem
Edited by Antonella Pelizzari and Arden Sherman
Published by Hirmer Verlag 

Book Launch Party
Hunter East Harlem Gallery
2180 3rd Ave at 119th St.
New York, NY
September 14, 2022, 6-9PM

Featuring: Berenice Abbott, Khalik Allah, Alice Attie, Dawoud Bey, Kwame Brathwaite, Isaac Diggs & Edward Hillel, Lola Flash, Hiram Maristany, Ozier Muhammad, Katsu Naito, Marilyn Nance, Ruben Natal-San Miguel, Lorraine O’Grady, Gordon Parks, Pope.L, Jamel Shabazz, Coreen Simpson, Beuford Smith, Ming Smith, Morgan and Marvin Smith, Shawn Walker, Hai Zhang and more!

Harlem’s 125th Street is a marker of twentieth-century urban experience, a thoroughfare that encapsulates powerful stories of business and consumption, real estate and gentrification, glamour and entertainment, and political uprising. This book explores the constant mutation of this street life through the works of a large roster of photographers and performance artists.

125th Street: Photography in Harlem includes investigations on twenty-four featured artists, four historic landmarks, and two comprehensive timelines.
Contributions by Hunter College MFA and MA, Art History students and recent graduates, and foreword by LeRonn P. Brooks.

This publication was made possible through support by the Crossway Foundation and the Hunter College Advanced Certificate in Curatorial Studies Program. 

2021-22 Department Awards and Prizes

Leeman-Boksenbaum MFA Thesis Prize-Spring 2022
Christina Barrera  /  Amy Bravo  /  Elmer Guevara  /  Pol Morton 

In support of a graduating printmaker the EFA ROBERT BLACKBURN PRINTMAKING WORKSHOP awards a full year membership to Christina Barrera
 
Jason Birmingham, Departmental Honors, BFA Studio Art
 
Viv Bourgeois, Somerville Art Prize, BA Studio Art
 
D’Arcy Blake, Shuster Award for Outstanding Master’s Thesis-2022, for “The Portrait and the Pedagogical Object: Art, Advertising, and Commerce in the works of Marcel Broodthaers, 1968-1971.”  Research for this thesis was funded in part by the Renate, Hans, and Maria Hofmann Trust
 
Kristen Clevenson, The Feminist Institute Research Award-Fall 2021, in support of her thesis “An Early and Feminist History of the Paula Cooper Gallery”
 
Maria José Garcia Estevez is the winner of the 2021-22 Eva Hesse Prize for Excellence at Hunter College
 
Joselyn Garcia, Nancy Ashton Memorial Prize, BA Art History
 
Joselyn Garcia, Departmental Honors, Art History
 
Elizabeth Janoff, The Feminist Institute Research Award-Spring 2022, in support of her thesis “Time, Text, and Image in Bernadette Mayer’s Memory”
 
Amber Sibley, Departmental Honors, Studio Art
 
Tatianna Spotorno, Somerville Art Prize, double major BA Studio Art and Art History
 
Areum Yang, Leeman-Boksenbaum Endowment Skowhegan School of Painting & Sculpture summer fellowship

Arrivals 2022-2023

The Department of Art and Art History is pleased to announce the appointments of Dr. Uchenna Itam as Assistant Professor of Art History and Dave McKenzie as Distinguished Lecturer of Studio Art. Dr. Itam is a specialist in modern and contemporary art of the African Diaspora. Dave McKenzie is an internationally recognized artist who works in video, sculpture, performance, and installation.

Dr. Itam comes to Hunter from a position as Predoctoral Fellow for Excellence through Diversity with the University of Pennsylvania’s Office of the Vice Provost for Faculty. Her research project, titled Feeling Visible, examines how politics of identity and issues of representation are negotiated through multisensorial aesthetics in the installation art practices of Janine Antoni, Félix González-Torres, Nadine Robinson, and Wangechi Mutu at the turn of the twenty-first century. Dr. Itam completed the Ph.D. in Art History at The University of Texas at Austin (2021); she holds an M.A. in the Humanities from the University of Chicago (2004) and a B.A. in the History of Art from the University of Pennsylvania (2003).

Dr. Itam has also worked as a curator for over two decades, most recently as Curator of the Henry Luce Foundation African American Collecting Initiative at the Archives of American Art, Smithsonian Institution. She is also a founding member of the collective INGZ, which has presented exhibitions with artists LaToya Ruby Frazier, TJ Dedeaux-Norris, and Mimi Cherono Ng’ok among others.

Dave McKenzie uses video, sculpture, performance, and installation to explore how public space and the private self are simultaneously alienated, connected, and restricted. At the heart of this practice lies a desire for interactions that lay bare the complications of social rules and obligations with which we navigate personal relationships.
 

Born in Kingston, Jamaica in 1977, McKenzie received a B.F.A. in printmaking from the University of the Arts, Philadelphia, and attended the Skowhegan School of Painting and Sculpture in 2000. He currently lives and works in Brooklyn, New York.

Departures 2021-22

Two longtime members of the Studio Art faculty retired in 2021-22, Tom Weaver, after 32 years, and Brian Wood, after 20.  They have each helped to shape the department and the program in Studio Art, and they will be missed.

 

Thomas Weaver received his BA from the University of California Santa Cruz in 1972, and moved to London to pursue graduate studies in sculpture at the St. Martin’s School of Art.  After two years in England, he returned to New York, where he received his MFA from Hunter College in 1982.  Tom began teaching at Hunter as an adjunct while still a student, and taught sculpture at Hunter as a Visiting Professor and painting at Parsons until 1990, when he joined Hunter’s fulltime faculty. He worked in large scale sculpture and site installations into the early 2000s, and his shaped and constructed paintings in that period reflect a similar interest in built space, perspective, and architectural light. In the new millennium he concentrated on painting, and his work became increasingly referential and figurative; the critic Fredric Koeppel described them as “dream-like and fragmentary narratives of American domestic life.” Over his long career, Tom has had one-person exhibitions at the Walsh Art Gallery at Fairfield University (CT), the Marsh Art Gallery at the University of Richmond (VA), and Condeso/Lawler Gallery and the Church of Saint Paul the Apostle in New York, among other venues.

Tom served as chair of the Department of Art and Art History from 2006 to 2012, and subsequently helped to build and run the BFA program, and to guide its students.  He was an important voice in the MFA program for both students and colleagues, and a strong advocate for our curriculum on all levels.  We will miss his wisdom, his judiciousness, and his deep institutional memory. 

 

Brian Wood was born and raised on a farm on the prairies of northern Saskatchewan, Canada, where his imagination was formed by the unforgiving environment and the cyclical rhythms of agriculture. He received his BA from the University of Saskatchewan in 1969, where he studied literature, physics, and mathematics. He moved to New York City shortly thereafter, and, in 1975, completed his MA at Hunter College in painting and film, working with filmmaker Hollis Frampton. He was part of the film crew of Michael Snow’s Rameau’s Nephew while at Hunter and screened his own early films at Film Forum in 1975. He began making large-scale photo constructions in the late 1970s and in 1979 the Museum of Modern Art curators John Szarkowski and Susan Kismaric began collecting his photo constructions and his later ink/photo paintings for MoMA’s permanent collection. They immediately placed Brian’s work in MoMA’s public galleries, where his works were on view for most of the next two decades, and also showed other of his works in many of the museum’s exhibitions and publications. Brian went on to exhibit internationally in many galleries and museums.

Brian was a Senior Critic in Photography at Yale from 1992-2002 and returned to Hunter as Professor of Photography in 2002. Over his twenty years at Hunter, Brian served multiple terms on the departmental P&B and as area head for Photography, guiding the area’s curriculum and developing its labs and workspaces. He was a committed teacher and mentor, and an important advocate for Photography at Hunter, not only within the department, but also to the administration.  

While the program in Photography at Hunter is centered on the wet darkroom and the techniques of analogue photography, Brian’s own work has always ranged far from the photograph. For some decades he has worked primarily in painting and drawing, works that have been exhibited in New York at Jeannie Freilich Gallery, Zurcher Gallery, Novella Gallery, Arts + Leisure Gallery, the Church of Saint Paul the Apostle, the American Academy of Arts & Letters, and numerous other venues. Brian’s art is represented in the permanent collections of museums worldwide, including the Museum of Modern Art, the Metropolitan Museum of Art, the Brooklyn Museum, the L. A. County Museum of Art, the National Gallery of Canada, the Ludwig Museum in Cologne, the Museum of Contemporary Art in Montreal, and the National Gallery in DC. His many awards include the Guggenheim Foundation Fellowship, the NEA Fellowship, the NYFA Artist Fellowship, an American Academy of Arts & Letters Award, and in 2019 Brian was a Rome Prize finalist in painting. Brian’s last semester teaching was Fall 2021, and he has worked these past months to prepare for upcoming exhibitions.

 

Spring 2022 BFA Degree Exhibition: Open Tabs May 12–June 4, 2022

 

Spring 2022 BFA Degree Exhibition: Open Tab
May 12–June 4, 2022

Opening Reception: Thursday May 12, 5–7 PM

Bertha and Karl Leubsdorf Gallery
132 E 68th St, NY NY 10065
Tues–Sat, 11AM–5 PM

The Hunter College BFA Program and the Hunter College Art Galleries are pleased to present the Spring 2022 BFA Degree Exhibition, Open Tabs at the Bertha and Karl Leubsdorf Gallery, May 12, 2022 through June 4, 2022. The exhibition will feature works by Arife Ateş, Jason Birmingham, Gloria Cárcamo, Katelin Montgomery, Piero Penizzotto, Alex Rader, Genesis Salinas, and Josie Tolliver Shaw. The gallery is free and open to the public Tuesday through Saturday, 11 am–5 pm.

Ademola Olugebefola in conversation with Howard Singerman May 4

 

 

 

Ademola Olugebefola in conversation with Howard Singerman

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY
May 4, 6:30 – 8pm

Hunter East Harlem Gallery
2180 3rd Avenue
New York, NY

May 4, 6:30-8pm

Join artist Ademola Olugebefola and art historian Howard Singerman on Wednesday, May 4, 2022 in conversation around the current exhibition, Ademola Olugebefola: Afrofuturist. Ademola Olugebefola is an educator, activist, and multi-talented artist. The versatility of his practice encompasses graphic design, illustration, theater set design, printmaking, oil painting, drawing, sculpture, and murals, among other artistic forms. Howard Singerman is the Phyllis and Joseph Caroff Chair of the Department of Art and Art History at Hunter College.  He was co-curator of the exhibition Acts of Art and Rebuttal in 1971 at Hunter’s Leubsdorf Gallery in 2018, and continues to research and write on Acts of Art Gallery, founded in Greenwich Village in 1969 to show the work of Black artists.

https://www.huntereastharlemgallery.org/program-content/ade-howard-talk

Zabar Lecture: JENNIFER PACKER on April 13

JUDITH ZABAR VISITING ARTIST
Lecture in-person and online
Wednesday, April 13, 2022 7pm

ROOSEVELT HOUSE PUBLIC POLICY INSTITUTE
AT HUNTER COLLEGE
47-49 EAST 65TH STREET
NEW YORK, NY 10065

 

Jennifer Packer is an American artist, living and working in New York City. She is a recipient of the 2020 Rome Prize of the American Academy, and the 2020 Hermitage Greenfield Prize. Packer creates portraits, interior scenes, and still lifes that suggest a casual intimacy. She views her works as the result of an authentic encounter and exchange. The models for her portraits—commonly friends or family members—are relaxed and seemingly unaware of the artist’s or viewer’s gaze. Packer’s paintings are rendered in loose line and brush stroke using a limited color palette, often to the extent that her subject merges with or retreats into the background. Suggesting an emotional and psychological depth, her work is enigmatic, avoiding a straightforward reading. “I think about images that resist, that attempt to retain their secrets or maintain their composure, that put you to work,” she explains. “I hope to make works that suggest how dynamic and complex our lives and relationships really are.” Born in 1984 in Philadelphia, Jennifer Packer received her BFA from the Tyler University School of Art at Temple University in 2007, and her MFA from the Yale University School of Art in 2012. She was the 2012-2013 Artist-in-Residence at the Studio Museum in Harlem, and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA, from 2014-2016. Her most recent solo show, Tenderheaded, was exhibited at the Renaissance Society, Chicago in fall 2017 before travelling to the Rose Museum at Brandeis University in March 2018. Packer currently teaches as an Assistant Professor in the Painting Department at RISD. Her exhibition, The Eye Is Not Satisfied With Seeing is the largest survey of Packer’s practice to date. It originated at the Serpentine Gallery in London, and can be seen at The Whitney Museum of American Art until April 17th 2022.

 

ABOUT THE JUDITH ZABAR VISITING ARTISTS PROGRAM
In November 2007, Hunter College received a generous commitment to establish the Judith Zabar Visiting Artist Program Fund. The Fund has allowed Hunter to bring a series of internationally recognized artists to campus to work directly with students in the MFA program, in master classes, critical seminars, and private tutorials, providing students with the unique opportunity to interact with top practitioners in the field. Zabar Visiting Artists also present public lectures where they discuss their work, engage in conversation with members of Hunter’s faculty, and with Hunter’s broader student community and the general public.
Past Zabar artists have included: Vito Acconci, Janine Antoni, Polly Apfelbaum, Julie Ault, Robert Barry, Dawoud Bey, Tania Bruguera, Patty Chang, Mel Chin, Peter Doig, Charles Gaines, Alfredo Jaar, Emily Jacir, Joan Jonas, Jeff Koons, David Lamelas, Glenn Ligon, Sharon Lockhart, Marie Losier, Inigo Manglano-Ovalle, Christian Marclay, Kerry James Marshall, Tracey Moffatt, Wangechi Mutu, My Barbarian, Gabriel Orozco, Laura Owens, Sondra Perry, Elizabeth Peyton, Paul Pfeiffer, William Pope L., Walid Ra’ad, Yvonne Rainer, Doris Salcedo, Shahzia Sikander, Cauleen Smith, Frances Stark, Fred Tomaselli, Nari Ward, Carrie Mae Weems, and Stanley Whitney.

 

Online Sound Bath by KACH Studio: Sonic RETRIEVAL / April 3, 4–5 PM

KACH Studio: Sonic RETRIEVAL
Online Sound Bath by Kenyatta A.C. Hinkle

Sunday, April 3, 4–5 PM

Register here to view the live stream at Leubsdorf Gallery
Register here for the Zoom link

Leubsdorf Gallery will be open for visitors to The Black Index, 11am–4pm, and for Sound Bath attendees only, 4–5pm.
Bertha & Karl Leubsdorf Gallery
132 E 68th St New York
Enter from the south side of 68th Street between Park and Lexington Avenues

This event will take place on Zoom during the last hour of The Black Index on view at the Leubsdorf Gallery at Hunter College. HCAG will also live-stream the sound bath in the Leubsdorf Gallery for those who would like to gather together to experience the sound bath in the gallery. Space is limited for the gallery’s live stream, so please register in advance.

KACH Studio: Sonic Retrieval will offer a sound bath that focuses on grieving in the midst of the pandemic in relation to the traveling exhibition The Black Index’s final journey to Hunter College. Kenyatta A.C. Hinkle’s work on view in the exhibition, The Evanesced: The Untouchables, features 100 un-portraits of disappeared Black femmes created in 2020 during the height of the COVID-19 pandemic. She will be offering a ritual not only to close the exhibition but also to create a sonic space for processing grief. Hinkle will be using a Dark Water and Dusk Gong as well as crystal singing bowls, tuning forks, rattles, and various instruments to offer a virtual experience. Those who want to contemplate the impact of Black death historically and presently can participate via cultivating deep listening as a form of witnessing and inner retrieval.

About Kenyatta A.C. Hinkle (Olomidara Yaya)
Award-winning interdisciplinary visual artist and writer Kenyatta A.C. Hinkle, trained Reiki Master and Sound Practitioner, offers unique sonic healing experiences in relation to art exhibitions and museum programming. Using scientific theories concerning the benefits of sound healing to enhance theta state, neuroplasticity, and heal trauma, Hinkle incorporates sound therapy into unique sound installations, group sound bath sessions, and 1:1 healing sessions for artists, arts administrators, and art lovers. Based upon the premise of retrieval that Hinkle has explored for the past ten years within her multi-disciplinary practice, Hinkle aims to provide shamanic journeying to help museum and gallery visitors to experience sonic transformation and healing that is not only activated within the visual realm but activates extrasensory perception to confront and examine the ghosts of history and our shared present individually and collectively. Hinkle is highly sought after to speak about her work at various universities and institutions nationally and internationally and has created a following via the brand of being a Ghost Lady, working with the ghosts of history and ideas that haunt her. Using these explorations in her visual art practice with much success, participants will be interested in how she approaches a new field of sonics within her practice and how it accentuates this next journey in her established career.

KACH Studio creates unique artwork and performances that chart the intersections of art and healing. KACH Studio features award-winning artworks, signature sound baths, and performances that focus on retrieval. KACH Studio seeks to provide Empowerment for SEEKERS to retrieve through sonics and art. KACH Studio is a BIPOC-artist-as-healer-led initiative established in 2012 that interrogates history and trauma to facilitate healing through visual restorative justice and sonics. KACH Studio creates unique handmade collages, fine art, and signature sound baths that interrogate our relationships to healing within the Historical Present and the ramifications of colonialism. Through the creation of visual restorative justice, the artwork acts as a testimony, and the sound/healing work is the aftercare of the testimony. Each participant, art collector, or client plays a powerful role in addressing the effect of history on us as individuals and within the collective. To own artwork or attend a performance, one is also taking action to heal their own relationship to our collective past. KACH Studio is interested in decolonization and healing from individual and collective trauma, and we work with people who range from being art collectors, students, museum-goers, gallery-goers, creatives, artists, and everyday civilians.