In the News | Sikkema Jenkins & Co. at Venice Biennale 2024
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Jeffrey Gibson: Representing the Representing the U.S. and Critiquing It in a Psychedelic Rainbow
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Jeffrey Gibson’s history-making turn at the Venice Biennale brings the gay and Native American artist center stage with works of struggle and freedom. By Jillian Steinhauer for The New York Times.
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Photo: Ari Marcopoulos
SFMOMA Announces Major Commission By Artist Kara Walker, Opening July 2024
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The San Francisco Museum of Modern Art has commissioned Kara Walker to create a site-specific installation for the museum’s Roberts Family Gallery, opening July 2024.
Read MoreBrenda Goodman: 'Self-Portraits' in Hyperallergic's Top 50 Exhibitions of 2022
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Brenda Goodman: Self-Portraits has been named one of Hyperallergic’s Top 50 Exhibitions of 2022.
Read MoreLuiz Zerbini at MASP in ArtNews
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Shanti Escalante-De Mattei reviews Luiz Zerbini: The Same Story is Never the Same at MASP for ArtNews.
Read More'Deana Lawson' at MoMA PS1 in The Brooklyn Rail
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Zoe Hopkins reviews Deana Lawson at MoMA PS1 for The Brooklyn Rail.
Read MoreSeph Rodney Interviews Yashua Klos for The New York Times
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“A DNA Test Led Yashua Klos to New Connections and New Art”
Seph Rodney
On the occasion of his inspiring solo debut at the Wellin Museum, he talks about Black labor, migration — and the family he recently discovered.
OUR LABOUR, 2020-2021, woodblock print on muslin and oil-based, relief block ink on dropcloth, mounted on canvas 15 ft. 6 in. x 38 ft. (4.7 x 11.6 m). © Yashua Klos. Photo by John Bentham.
“I like titles to have double meanings. If I’m lucky, I can find one with a triple meaning. “Our Labour” is first a reference to my family and the work that my family has done in the auto plants in Detroit. It’s a reclamation of a larger history of Black labor in America. But it’s also a larger historical context of the Black “our,” which has been excluded from having visual representation [in this nation’s history].”
To read the full article, click here.
“Blessed Are Those Who Mourn (Breonna! Breonna!)” from 2020 at The Whitney Museum of American Art. Photo by Filip Wolak.
Jennifer Packer at the Whitney: New York Times Critics' Pick
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Jennifer Packer: The Eye Is Not Satisfied With Seeing has been reviewed as a Critics’ Pick by Aruna D’Souza in The New York Times. Photo by Felip Wolak.
Read MoreKay Rosen: 'New Work 2020-2021' Reviewed by Frieze
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Read Paul Stephens’ review of Kay Rosen: New Work 2020-2021 in Frieze.
Read MoreMarlene McCarty: 'Into the Weeds' in The New Yorker
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Marlene McCarty: Into the Weeds is featured in The New Yorker’s “Goings on About Town” for the July 12 and 19, 2021 issue.
Read MoreThe Brooklyn Rail: 'Off the Wall' Review
Read Alfred Mac Adam’s review of the group exhibition Off the Wall, on view via Artsy April 14 – May 15, 2020.
Read MoreThe Brooklyn Rail: Merlin James with Louis Block
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Brooklyn-based painter Lous Block interviews Merlin James for The Brooklyn Rail.
Read MoreJosephine Halvorson: On the Ground in The Brooklyn Rail
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The Brooklyn Rail reviews Josephine Halvorson: On the Ground at Sikkema Jenkins & Co.
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LISTEN: Art Grind Podcast: William Cordova and Josephine Halvorson
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Listen to the Art Grind podcast, featuring William Cordova and Josephine Halvorson’s exhibition openings at SIkkema Jenkins & Co.
Read MoreWATCH: Studio Visit: Josephine Halvorson | Institute of Contemporary Art/Boston
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Josephine Halvorson is one of four artists included in the 2019 James and Audrey Foster Prize exhibition at the Institute of Contemporary Art/Boston. The exhibition features new large-scale paintings made in places with which she is deeply connected: her Berkshires home and studio and an old mining site in Death Valley, Utah.
Read MoreMitch Epstein in The New Yorker: "Mitch Epstein’s Urgent Look at Communities Vying for American Land."
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Mitch Epstein’s Property Rights was featured in The New Yorker’s Photo Booth.
Read MorePress for Louis Fratino: 'Come Softly to Me'
Featured press for Louis Fratino’s solo exhibition, Come Softly To Me, on view at Sikkema Jenkins through May 18, 2019
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