Sikkema Jenkins & Co.

Venue  |  Exhibitions  |  Reviews

Mark Bradford: Thinking About Painting

by Lee Ann Norman
Looking at Mark Bradford’s work makes me happy. I am one of those critics who doesn’t normally find much interesting in painting, but Bradford’s work makes me want to think hard about it again. I saw his first mid-career survey at the ICA in Boston nearly two years ago, and I got a good sense of his oeuvre over the last fifteen years. Not much has changed with Bradford’s third solo exhibition at Sikkema Jenkins. All of the works on view are large-scale abstractions created from a variety of... [more]
Posted by Lee Ann Norman on 11/24/12

High Drama

by Yván Rosa
Antonio Caballero’s photographs are melodrama at its best. His pictures are taken from narrative sequences that originally made up fotonovellas (“small graphic novels similar to comic books with storyboard format and dialogue bubbles”). As per their original purpose as a kind of printed analogue to telenovelas most of these pictures retain more than a hint of escapism, yet with a highly acute visual sensibility. Seeing that Caballero’s photographs were taken in the early sixties and seventies,... [more]
Posted by Yván Rosa on 1/9/11

Uncertainty Sets the Stage

by Michelle Levy
, with Jessica Dickinson, Emily Do, Sheila Hicks, Ree Morton, Fabienne Lasserre, Siobhan Liddell and Molly Smith, located in gallery 2 of Sikkema Jenkins, groups these seven artists together based on shared interest in exploration of uncertainty. The work is otherworldly,  strange,  quirky, ritualistic, elusive. There is a strong female presence without being self-righteous or overtly feminist-- the objects commune, emanating traces of myth, intuition, spirituality, and ritual craft, and... [more]
Posted by Michelle Levy on 9/19/10

Thoughts on Muniz and Gronon

by Frances Guerin
Coming to New York, I was caught up in the excitement of the uncanny simultaneity of Vik Muniz’s and Philippe Gronon’s exhibitions, both titled , both purporting to be meticulous re-productions of the back of twentieth-century modern master paintings, both having been researched in the vaults of great museums, Muniz in New York, Gronon in France. The only difference, or so I was lead to believe, was that Muniz crafted a replica of the object itself, whereas Gronon photographically re-presented... [more]
Posted by Frances Guerin on 3/18/10

Profiles in Black and White

by Sophia Powers
    The newest work of Kara Walker pulls no punches, and elegantly.  I stepped into her solo show at the Sikkema Jenkins & Co. gallery intrigued by the graphic strength and sophistication of her papercuts.  Genre scenes, at first glance...Quaint, I mused-- romantic.  And then I strolled past a few more pictures and realized that the figures were not characters so much as caricatures.  Silhouettes of distinctively black faces.  They were portraits of violence. Disturbed, I stepped closer and... [more]
Posted by Sophia Powers on 10/28/07