Paintings and installations that unfix the body.

Kendrick owns five chainsaws and calls his radical sculptural interventions a form of “anti-carpentry,” but he’s ultimately invested in revealing and repairing forms, thereby discovering new dimensions of wholeness.

Mark-making as internal landscaping.

Paintings that embody a love of materials.

The painter looks back on five decades of experimentation and how that’s generated new levels of confidence and clarity in her art.

Alphabets are limited; it’s the arrangement of letters that produces meaning.

Merging image and object.

The North American debut of Belgian choreographer’s work set to Johann Sebastian Bach’s cello suites.

Painting that works with politics and abstraction.

Photographic explorations of color.

Against inertia.

Thinking the politics of race in contemporary dance. 

Painting as disappearance.

The artist talks about the genesis, composition, and execution of a recently completed work.

The artist talks about the genesis, composition, and execution of a recently completed work.

“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”

Hovsepian addresses current matters in her work, but she does so in a vocabulary that moves beyond binaries and beyond Western mentality, one that follows a different way of thinking and feeling.

“I don’t want to mention names, but there are several black artists that would like to shoot me today because they weren’t in that show. Some of them are dead, but the ones that aren’t dead still give me a lot of bullshit every time I see them.”

It starts, of course, with water. A bath for the newborn, a baptism for the blank canvas.

“Every time you remember something, it’s not like you’re being teleported to the past—you’re actually physically experiencing it in the present.”