We are thrilled to announce Arturo Herrera’s upcoming exhibition of paintings - his seventh solo show with the gallery since joining in 1998!
Over the past 18 years, Herrera has developed a diverse body of work (most prominently collage, felt sculpture, and wall painting) that references the complex legacy of abstraction using modernist strategies of fragmentation, re-composition, and repetition, often employing found material and/or imagery from popular culture. For the current exhibition, Herrera applies these strategies to the painted canvas for the first time, free of the collage elements that were incorporated into several recent series. Combining and juxtaposing abstract sources, the paintings suggest a defined disorder - a restlessness filled with associative meanings. On view November 29 - January 20, 2018. #ArturoHerrera#sikkemajenkins
The New York Times Magazine commissioned #VikMuniz to design the cover of this week’s Tech and Design Issue, entitled “What the Car Did - and What It Might Do”. • Gail Bichler, design director: “The time when self-driving cars will dominate the roads can seem far off. For the cover of our Tech and Design Issue, we chose to fast-forward to that time and look back. Vik Muniz’s image of an abandoned steering wheel is both elegiac and filled with life, acknowledging that with the gains made through technology, there are also inevitable losses.” @vikmuniz@tmagazine#NYTMag
A self-portrait by #DeanaLawson for W Magazine, in celebration of Los Angeles’ Underground Museum • “How the Family-Run Underground Museum Became One of L.A.’s Most Vital Cultural Forces”, link in bio • “When the history of this moment in the L.A. art world is written,” [Helen Molesworth] ventures, “people will say, ‘The Underground Museum? That shit was dope.’” •
Deana Lawson will present her first solo exhibition at Sikkema Jenkins & Co. in March 2018. @hmolesworth@theundergroundmuseum#UndergroundMuseum@wmag#wmag#losangeles
Please join us tonight for the Opening Reception for #JosephineHalvorson's solo exhibition "As I Went Walking"! Thursday, October 19 from 6-8PM.
Halvorson makes paintings from direct observation, en plein air. She finds herself working at the limits of private and public property. The feet of the easel, the table and the artist trespass and straddle invisible boundaries. A day’s work leaves its physical imprint in the tamped-down ground. But the painting itself, in its portability and self-contained rectangle, leaves the site of its making without a trace. Once removed from its original context, the painting metaphorically extends the boundary line.
Image: Josephine Halvorson, "Broken In Two", 2017, oil on linen. #sikkemajenkins
Tonight, join us at @cheimread for a conversation with #LouiseFishman - speakers include our very own #JosephineHalvorson who will open a much-anticipated show of new paintings here at the gallery on October 19, + Nancy Princenthal, Ulrike Müller, & Helaine Posner! The conversation is free to the public, 6-8 PM. Please contact Cheim & Read for more information.
#KaraWalker’s “Triumphant New Show Is the Best Art Made About This Country in This Century”, writes @nymag – don't miss it! This extraordinary show closes on Saturday, October 14. Image: Kara Walker, "Slaughter of the Innocents (They Might be Guilty of Something), 2017, cut paper on canvas. #sikkemajenkins
We're looking forward to #JosephineHalvorson's fourth solo show at the gallery, opening October 19! "As I Went Walking" includes a series of life-sized oil paintings made in the western #Massachusetts town where Halvorson lives and votes. The exhibition’s title is borrowed from the first line of a missing stanza from #WoodyGuthrie’s anthem, This Land Is Your Land, rediscovered in the 1990s:
"As I went walking I saw a sign there / And on the sign it said 'No Trespassing.' / But on the other side it didn't say nothing, / That side was made for you and me." #SikkemaJenkins
A mock up of #ArturoHerrera's forthcoming design for a site-specific monumental mural for the entrance hall of OGR Torino! Officine Grandi Riparazioni is a late 19th century majestic industrial complex that will now be a center for art, music, food, and cultural programming. More info at @ogr_torino Photo by Daniele Ratti. #ogrtorino
The New Yorker (@newyorkermag): "#KaraWalker’s coruscating new hybrids of drawing and painting at Sikkema Jenkins & Co. are, of course, the talk of the town. The show, which marks the first time that Walker has introduced current events into her relentlessly brutal and at times fiendishly hilarious vision of the bitter legacy of slavery in the United States, was hailed by critics as including some of the best art of the century—before it even opened, last Thursday. By Saturday there was a line out the door, and this weekend will be more of the same, so plan to hit Chelsea in the morning." – Andrea Scott, @newyorkermag, 9/9/17 #sikkemajenkins#newyorker
Image: Kara Walker, "A Spectacle", 2017, Sumi ink and collage on paper.
Roberta Smith reviews #KaraWalker for @nytimes: "Ms. Walker emerged in the mid-1990s with incendiary works set adamantly and slyly in the past that were frequently criticized as politically incorrect for caricaturing slavery in the antebellum South. Scaling up the demure 19th-century genre of the black-paper silhouette, she brought to elegant, repellent life an unending stream of vicious master-slave narratives — a continuum of violence, abuse and violation that consumed and corrupted almost all parties, regardless of age or race. Antic, profane and riveting, these mural-like scenes replayed history as farce and masqueraded tragedy as depraved comedy. They revealed the inevitable psychic corruption of humans owning humans, brought out the sexual component of oppression in any form and implied a country still shaped by the original sin of slavery.” The exhibition runs through October 14, 2017. "Dredging the Quagmire (Bottomless Pit)", 2017 @robertasmithnyt#sikkemajenkins
#KaraWalker, "Brand X (Slave Market Painting)", 2017, Oil stick on canvas ~ All are welcome to join us tonight at the Opening Reception, 6-8PM ~ "Sikkema Jenkins and Co. is Compelled to present The most Astounding and Important Painting show of the fall Art Show viewing season!" #sikkemajenkins
Please join us for the Opening Reception of a major solo exhibition of new work by Kara Walker *tomorrow*, September 7, 6-8PM. “Sikkema Jenkins and Co. is Compelled to present The most Astounding and Important Painting show of the fall Art Show viewing season!” On view through October 14.
Village Voice, Sept 6-12, “Kara Walker and the Art of Insurgence”, by Siddartha Mitter. @villagevoice@sikkemajenkins#karawalker@kara_walker_official
Sheila Hicks's monumental installation on The High Line, weaving in and out of the self-seeded landscape. We can't wait to see how the installation will morph as seasons change • Sheila Hicks, “Hop, Skip, Jump, and Fly: Escape from Gravity”, 2017. A High Line Commission. On view June 2017 – March 2018 at the Western Rail Yards. Photo by Timothy Schenck. Courtesy of Friends of the High Line. @highlineartnyc#SheilaHicks
Sikkema Jenkins and Co. is Compelled to present
The most Astounding and Important Painting show of the fall Art Show viewing season!
Collectors of Fine Art will Flock to see the latest Kara Walker offerings, and what is she offering but the Finest Selection of artworks by an African-American Living Woman Artist this side of the Mississippi. Modest collectors will find her prices reasonable, those of a heartier disposition will recognize Bargains! Scholars will study and debate the Historical Value and Intellectual Merits of Miss Walker’s Diversionary Tactics. Art Historians will wonder whether the work represents a Departure or a Continuum. Students of Color will eye her work suspiciously and exercise their free right to Culturally Annihilate her on social media. Parents will cover the eyes of innocent children. School Teachers will reexamine their art history curricula. Prestigious Academic Societies will withdraw their support, former husbands and former lovers will recoil in abject terror. Critics will shake their heads in bemused silence. Gallery Directors will wring their hands at the sight of throngs of the gallery-curious flooding the pavement outside. The Final President of the United States will visibly wince. Empires will fall, although which ones, only time will tell.
• Please join us for the Opening Reception on September 7, 6-8PM • Image: Kara Walker, detail, 2017. #sikkemajenkins#KaraWalker
Jennifer Packer’s first solo institutional exhibition opens on September 9, 2017 at The Renissance Society in Chicago. @rensoc: “Tenderheaded” brings together multiple strands in the artist’s practice, ranging from portraiture to the funerary bouquet. Based in observation, improvisation, and memory, Packer’s canvases are intimate and contemplative, rendered in loose strokes and strong color. Like the exhibition title, the juxtaposition of these various modes of representation and production point to possibilities both bodily and emotional, fragile and strong. Curated by Solveig Øvstebø. #JenniferPacker: “Tenderheaded” runs from September 9, 2017 to November 5, 2017.
Image: Jennifer Packer, “An Exercise in Tenderness”, 2017.
Happy Birthday, #SheilaHicks! Hicks' enveloping installation "Escalade Beyond Chromatic Lands", presented in Viva Arte Viva as part of La Biennale di Venezia, is on view through November 2017. Photograph by Andrea Avezzù. #biennalearte2017@labiennale
Los Angelenos! Artist Leonardo Drew will be in conversation with Curator Christopher Bedford at Art+Practice tomorrow, July 20! The event is free & open to the public - not to be missed! Contact @artandpractice for more info. #LeonardoDrew Photo by John Berens.
We are thrilled to share a new series of prints by #KaraWalker, produced by Greg Burnet of Burnet Editions Master Printer. "Resurrection Story with Patrons", 2017, Etching with aquatint, sugar-lift, spit-bite and dry-point, Printed on Hahnemuhle Copperplate Bright White 400gsm paper.
The triptych is an edition of 25. The central panel is available for acquisition in an edition of 30.