ABOUT US
Hill Berry Art Gallery is a contemporary Black art expression platform, part studio, part sanctuary, part town square. We champion painters, photographers, sculptors, textile artists, digital makers, sound artists, and storytellers from across the African diaspora, giving them the space, resources, and respect to lead the cultural conversation.
Our curatorial lens is spiritual wholeness: art as a practice of repair. Exhibitions trace the arc from lament to healing—pairing archival memory with new work, sacred symbols with everyday objects, silence with sound. We hold space for prayerful quiet and joyful noise, for the private altar and the public square. Workshops, artist talks, and community rituals invite visitors to leave more integrated than they arrived.
Hill Berry’s rooms also model peaceful protest through art. We platform work that names harm without dehumanizing, stages dissent without spectacle, and builds coalitions through beauty, clarity, and craft. The gallery’s programs, artist residencies, youth studios, justice-centered commissions, and neighborhood pop-ups—translate critique into creation and vision into action.
In short: Hill Berry Art Gallery is a living commons for Black imagination where order meets uprising, faith meets form, and the community’s heartbeat becomes visible on the walls.
ORGANIZED UPROAR
The Organized Uproar insignia brings two truths together: the discipline of a curated gallery and the unstoppable energy of Black creativity. A precise circle and clock-like ticks speak to care, scholarship, and continuity, our promise to steward archives and timelines with rigor. At the center, the bold exclamation and mirrored wave-forms capture the call-and-response of the Black aesthetic: gospel to jazz, protest chant to hip-hop hook, drumline to spoken word. Order frames it; the roar lives within it.
Why it embodies our collection
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Community & Continuum — The ring symbolizes the global Black circle. Africa, the diaspora, and homecomings, linking elders to emerging voices, fine art to street practice, classroom to cipher.
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Curation with Intent — The evenly spaced ticks echo curatorial structure: periods, movements, and milestones mapped with care.
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Urgency & Voice — The exclamation stands for work that confronts and delights, art that names, heals, refuses, and reimagines.
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Sound Made Visible — The symmetrical arcs render rhythm itself: polyrhythms, praise breaks, and protest waves that shape our visual language.
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Palette with Purpose — Charcoal recalls graphite, ink, and soil; the red accent suggests spirit, struggle, and joy—the lifeblood of Black art.
What it signals in the gallery
Paintings, textiles, sculpture, photography, installation, and sound pieces live side-by-side, archival depth with contemporary fire. The insignia tells visitors to expect rigor and resonance: histories recovered, futures prototyped, and everyday Black life centered with beauty and precision. It is a seal of intent, to order the archive and amplify the roar so every wall label, catalog spine, and program carrying this mark announces the same promise: Black artists leading the conversation, together.
The R.O.A.R. — Revelation Of A Revolution
Artist: B. Hill-Glenn
Collection: Organized Uproar Art Collection
A lion’s roar rises from the silhouette of Africa, its mane and muzzle carved directly from the continent’s profile. Behind it, a halo of stars crowns the scene as Pan-African bands sweep across a dusk sky. The setting sun glows at the base, night ending, a new day beginning.
Hill-Glenn compresses history and prophecy into one emblem: the R.O.A.R.—Revelation Of A Revolution. The continent becomes both body and voice; the lion, a stand-in for courage, stewardship, and uncompromising truth. The circling stars suggest nations and diasporic kinship, while the red, black, and green honor liberation movements past and present.
In keeping with the Organized Uproar ethos, the work marries discipline and urgency. Clean geometry frames the turbulence of change; a single, unmistakable silhouette carries centuries of sound, chants, hymns, drumlines, and speeches into a focused call. It invites the viewer to hear the future arriving, and to answer with vision, unity, and work.
OUR P.O.W.E.R.
Our Purpose • Overflow • Wisdom • Expectation • Resurrection
Artist: B. Hill-Glenn
Collection: Organized Uproar Art Collection
In stark black and white, Our P.O.W.E.R. stages a visual pilgrimage across the National Mall. The converging planes of the Reflecting Pool form a road; the Washington Monument stands like a pillar of witness; the seated figure at the Lincoln Memorial anchors the composition, history looking forward. In the foreground, a chorus of raised silhouettes rises into a single, sheltering form, a white star at its center. Crowd becomes vessel; protest becomes prayer.
The piece translates faith into architecture and movement into liturgy:
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Purpose – The strong axial line directs the eye and the will toward a holy assignment.
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Overflow – The reflection doubles the monument, echoing abundance poured back into the people.
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Wisdom – Lincoln’s gaze suggests counsel from elders and texts; civil memory as teacher.
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Expectation – Upraised arms and open negative space make room for what is promised but not yet seen.
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Resurrection – White light breaks through the silhouettes, a quiet cross-current of hope and new life.
B. Hill-Glenn’s minimal palette sharpens the message: when form is stripped to essence, testimony becomes undeniable. A life aimed at purpose, filled to overflow with wisdom and hope, anchored in the resurrection power of the Lord.
Discover The Diaspora
The Rebirth of African Republic
Artist: B. Hill-Glenn
Collection: Organized Uproar Art Collection
A continent, cast in hammered gold, appears not as terrain but as a motherboard. Its rivers replaced by circuit paths, its cities glowing like data nodes. Electric blues surge around the shoreline like living current, suggesting oceans of energy, fiber, and diaspora connection. In B. Hill-Glenn’s The Rebirth of African Republic, geography becomes infrastructure and history is rewired for sovereignty.
The work imagines an Africa reorganized from the inside out: resources converted to intellectual capital, extraction exchanged for innovation, borders reframed as bridges. The gilded surface honors cultural wealth; the circuitry forecasts governance, finance, and creativity running on African code. It’s a republic by design, federated, networked, self-authored where power flows through knowledge, ethics, and shared purpose.
At once elegy and blueprint, the piece whispers a thesis: rebirth is a system upgrade. When memory meets technology, the continent doesn’t just light up, it leads.
Black Targets — What’s Going On in America?
Produced & Edited By: B. Hill-Glenn
A stark, unflinching short film that asks why so many young Black Americans die at the hands of police, and whether the ways we train officers plant a dangerous picture in the mind before a trigger is ever pulled.
Black Targets weaves together family testimonies, public records, and expert commentary in psychology and policing. The film spotlights the lives cut short—names, faces, and unrealized futures—while examining how certain shooting-range practices and human-silhouette targets can normalize an image of threat that is disproportionately read onto Black bodies. By tracing the pipeline from the firing lane to the street—split-second “shoot/no-shoot” drills, stress inoculation, and pattern recognition—the film explores how repetition shapes perception, and how perception shapes deadly decisions.
At its core, the documentary argues that the real disease is hate defined as "an intense hostility and aversion usually deriving from fear, anger, or sense of injury.” It asks whether fear has been rehearsed into policy, and whether anger has been engineered into muscle memory. With clarity rather than spectacle, Black Targets calls for evidence-based reforms in training, transparent accountability, and a re-humanizing of both community members and officers.
Themes of the Work:
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Names First: honoring the people behind the headlines.
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The Range: how silhouettes, scenarios, and repetition encode threat.
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Mindset: implicit bias, stress, and the psychology of perception.
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Systems: oversight, incentives, and policies that amplify risk.
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Repair: community-led safety models, revised training standards, and pathways to trust.
Content Advisory:
Includes images of police violence, mass demonstrations, and pandemic-related loss. The film contains sensitive subject matter and is intended to provoke reflection and change—demanding that we see each life as sacred, confront rehearsed fear, and choose practices that protect rather than harm.
“Skin I’m In”
Produced & Edited by: B. Hill-Glenn
Set to Cameo’s “Skin I’m In,” this short film confronts the twin crises of 2019–2021 COVID-19, and racial violence asking a searing question: “Why does the world hate us? Is it because of the skin I’m in?”
Through rapid-fire montage and long, unblinking shots, the video moves from masked hospital corridors and refrigerated trucks to protest lines and candlelight vigils. It anchors on the 2020 murder of George Floyd in Minneapolis, Minnesota—captured on bystander video and broadcast worldwide, then widens to show marches, murals, and memorials that swept the nation. Archival headlines, emergency briefings, and street footage evoke a country in turmoil under then-President Donald Trump, as the film argues that official responses and crowd-control tactics intensified fear and pain in Black communities.
The visual language pairs grief with resolve: PPE-clad essential workers, elders praying on porches, youth leading chants, mutual-aid tables, and names scrolling across the screen insisting on memory. Over the bassline and refrain, the film frames its thesis plainly, the real pathogen is hate: “an intense hostility and aversion usually deriving from fear, anger, or a sense of injury” and its manifestation is racism that marks Black life as threat.
Themes of the Work:
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Betrayal & accountability: A critique of federal and local responses during the pandemic and protests.
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Visibility & voice: The power of phones, murals, and music to bear witness.
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Grief to action: From sirens to solidarity, from mourning to mobilization.