Kenya (Robinson)

From her earliest major pieces, (Robinson) engaged with a variety of mediums and subjects. In 2008, the Museum of Contemporary African Diaspora Arts in Brooklyn, NY, featured her work in a solo exhibition, entitled "HAIRPOLITIC: The Pursuit of Nappiness'. The exhibition, in exploring contemporary perspectives on hair, "addressed the unwritten rules and politics of culture and how they affect what we consider beautiful."[7] Two years later, (Robinson) produced a variation of HAIRPOLITIC as a solo exhibition at the Thomas Center in her hometown of Gainesville.[5] This exhibition, "HAIRPOLITIC: Pomade in America," featured some work from her earlier exhibit, but also incorporated new multimedia.[8]

In addition to these solo displays, (Robinson)'s work appeared in a number of group exhibitions during this time in New York and New Jersey. She also had a number of performance art pieces featured in notable venues, including the Museum of Modern Art, the Wall Street Gallery, Recess Activities, and the Museum of Contemporary African Diaspora Arts.[3]

In 2011, (Robinson)'s work was featured in a third solo exhibition at a branch of the Brooklyn Public Library, entitled "All Over the Place."[9] While her visual work was also featured in a number of group exhibitions in New York, 2011 and 2012 saw (Robinson) engage in an increasing number of major performance art pieces.

Her work,"kenya eats a cracker," at the Kitchen, featured the artist eating a variety of cracker brands in a yellow raincoat. Her piece prompted praise from at least one critic. Andrew Russeth wrote that "(Robinson) seems wonderfully out of touch with the times," by ignoring the trend among performance artists to showcase the "glorification of long-term suffering ... or the celebration of middlebrow interactivity."[10] Russeth went on to write that (Robinson) "twists the codes that govern our basic needs — shelter and food — in ambiguous ways and pushes them toward the precarious point when they may break."[10]

From February 1 - May 3, 2011, (Robinson) conducted a "13-week-long performance piece, in which she offered herself up as a guest (10 hours of housework included, but the host must supply the toothpaste) to anyone who would have her."[1] Robinson traveled with an inflatable mattress as well as "appropriate linens and towels."[11] Her proposal was sent out by e-mail to artist colleagues in Manhattan and Brooklyn.[1]

(Robinson) documented her interactions with her hosts and her reflections on the experience on a blog, including movie recommendations, required readings, and a log of the toothpaste used at each residence.

The project was detailed by the New York Times in the piece "The Serial Sleepover Artist," by Penelope Green.[1]

Recent years have seen (Robinson)'s work continue to be featured in exhibitions in New York City, but her performative work has also taken her to other parts of the country, including Maine, Nebraska and the US Virgin Islands.[3]

Her sculpture "Commemorative Headdress of Her Journey Beyond Heaven" is in the permanent collection of the Smithsonian National Museum of African American History and Culture [12]

An installation of several works won the 2018 Florida Prize in Contemporary Art at the Orlando Museum of Art. Alex Rich wrote "Kenya's work is important. It takes a novel and memorable approach to the perennial, historical, and — sadly even here in 2018 — still too relevant theme of white straight male privilege. Any viewer who takes the time to engage with her work will be left reconceptualizing his or her own place in that hierarchy of gender and race and in the fitful journey toward inclusiveness."[13]

CHEEKY LaSHAE, described as a "fluid-identity karaoke singer," is a performance art piece which (Robinson) began in 2013 following the completion of her MFA.[14] A reaction to the feeling of being "forced into a box" by her education, CHEEKY consists of a costume, worn by both (Robinson) and rotating audience members, in which one's face is entirely masked by a box like shape that leaves only the lower half of the body uncovered.[6][14] CHEEKY's emphasis on audience participation in her "Karaoke Universal" shows stems from (Robinson)'s belief that "everyone, even the spotlight-phobic, is a performer."[15] "Whether you're performing femininity, masculinity, shyness, or extroversion, all of our movements in a social space are performative in nature, whether you're a performance artist or not," (Robinson) states.[15]

(Robinson) is currently experimenting with projection mapping onto CHEEKY LaSHAE's costume during performance.[16]

#WHITEMANINMYPOCKET, a project that began in 2013, is a work in which (Robinson) carries around a small figurine of a white male in her pocket with the goal of reminding herself: "you are more privileged than you think, no matter your gender, socioeconomic status or the color of your skin."[17] When (Robinson) began the project the white man figurine lived publicly online through her Instagram account with a hashtag and series of photos that document its daily goings-on.[17] As interest in the project has grown, (Robinson) has begun making a "tiny army of pocket-sized white men" figurines, which she often refers to as "talismen" and "charms."[17]

Kenya spoke about the piece to the Huffington Post in 2015, stating that: "As someone who strongly identifies as a black, American person, all of the violence inflicted upon black bodies -- verbally, emotionally, physically, spiritually -- it's really overwhelming. I needed something. I needed to create privilege for myself because every message that I was receiving told me I wasn't privileged at all. But, you know what? I am breathing. I am able to express myself in a positive way. That is a big privilege, but sometimes I forget that."[17]