An interview series spotlighting New York’s creative community. Hear directly from artists, curators, and art workers about their current projects and personal quirks.
For Knight, whose work slyly critiques the raced, gendered, and classed nature of power, a residency at the Kitchen will provide an opportunity to use the empty building as a collaborator.
Each known for their genre-bending improvisation, the two musicians will treat audiences to a special double bill at Public Records on Thursday — Young’s first solo performance in over 10 years.
The artist’s Death Is Elsewhere conveys an understanding that humans — relatively recent additions to a 4.5-billion-year-old planet — will come and go. The planet will remain.
The Racial Imaginary Institute wants to “make visible that which has been intentionally presented as inevitable,” to disrupt the “bloc” of whiteness.
Co-organized by the Racial Imaginary Institute and the Kitchen, this weekend’s event boasts a powerful lineup of artists, writers, and thinkers on race.
Summoning within her own body the necessary force to make the assemblage crumble, Foulkes transforms the dancer-sculpture duet into an aerial mosh pit.
At the Kitchen, choreographer Bárbara Foulkes will perform an improvised aerial dance with Cruzvillegas’s suspended sculpture, with musical accompaniment by Andrés García Nestitla.
Jeremy Toussaint-Baptiste and LaMont Hamilton’s performance “Evil Nigger” was the first in a series celebrating the life and work of Eastman.
Bringing together years of research, an exhibition and performance series at the Kitchen remembers the remarkable composer.
In an evening covering her practice since the 1980s, Kembra Pfahler and her collaborators bring transgressive, wildly inventive, take-no-prisoners performance to the Kitchen.
Meriem Bennani’s dizzying, discomfiting, delightful installation at The Kitchen.