Sikkema Jenkins & Co.


What Does It Mean to Be a Grown-Up Painter?

by John Yau on February 22, 2015

Merlin James,

Isn’t it time we begin putting things in perspective?

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Post image for Beer with a Painter: Josephine Halvorson

Josephine Halvorson and I met on a late winter day when the chill was starting to melt, and talked over omelettes at the window of the Red Cat in Chelsea. It was early on a weekday, the restaurant felt quietly elegant, the light outdoors mellowed by cloud cover. As Halvorson noted, even the potatoes in our omelettes were perfectly soft.

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Post image for Forensic Observer: The Recent Paintings of Josephine Halvorson

Josephine Halvorson transcribes the anonymous, weather-beaten traces left by those who might otherwise have left no other mark of their existence behind.

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Post image for Parallel Strains: Arlene Shechet’s Ceramic Abstractions

Brimming with knockabout energy, Arlene Shechet’s polymorphous clay sculptures at Sikkema Jenkins — exuberantly colored columns, clumps and sacks of glazed ceramic — feel almost illegitimate in their sensuality and humor, a reaction that immediately calls into question why a word like “illegitimate” would spring to mind in the first place.

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Post image for Worst.Press.Release.Ever: Word Salad

Every once in a while a sentence comes along and energizes us with its singular lack of meaning, the tinny sound made by so many letters, marched into so many words, all profaning the artworks they are meant to elevate.

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Post image for Is Mark Bradford the Best Painter in America?

I didn’t expect to write about the new show from Mark Bradford, who has been called by Guy Trebay of The New York Times “if not the best painter working in America today then certainly the tallest,” when I walked into Sikkema Jenkins on Tuesday morning. Despite the whimsy of Trebay’s “best/tallest” assertions, a credible case can be made for the former.

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