Jan Henle
Con el Mismo Amor (triptych)
Colby College Museum of Art
Jan Henle’s Con el Mismo Amor (triptych) is currently on view with other highlights from the permanent collection in the Lunder Wing at the Colby College Museum of Art. Henle’s “film drawing” documents the contours of the land near the town of Maricao in the mountains of southwest Puerto Rico where, since 1999, the artist has been working on his three-acre living sculpture. The work was donated to the collection last year. For more information, click here.

Image: Jan Henle, Con el Mismo Amor (triptych), 1999-2006, film drawing, printed on gelatin silver paper and selenium toned, 97 x 160 inches (3 parts- install 2" apart), edition 1 of 6.

Arlene Shechet
Vitamin C: Clay & Ceramic in Contemporary Art Panel Discussion
Phaidon | Phillips
Vitamin C: Clay & Ceramic in Contemporary Art Reception and Panel Discussion
450 Park Avenue
New York, NY 10022
December 10, 2017
Reception 12 - 3pm, Panel at 1pm

Please join us on Sunday, December 10th for the reception and panel discussion on the new book Vitamin C: Clay & Ceramic in Contemporary Art. The discussion will be moderated by Mary Ceruti, Executive Director and Chief Curator of the Sculpture Center, and contributor to Vitamin C. Panelists will include Glenn Adamson, Senior Scholar at the Yale Center for British Art; Arlene Shechet, Artist; and Ben Williams, International Ceramics Consultant, Phillips. To RSVP for the event, please contact Phillips.

To view the discussion via livestream, please click here.

Image: Arlene Shechet, For the Forest, 2016, glazed ceramic, painted steel, 66 x 15 x 14.5 inches (167.6 x 38.1 x 36.8 cm).

Jennie C. Jones
Anonymous Was A Woman Award
Sikkema Jenkins & Co. congratulates Jennie C. Jones, recipient of the 2017 Anonymous Was A Woman Award!

Anonymous Was A Woman is an unrestricted grant of $25,000 that enables women artists, over 40 years of age and at a significant juncture in their lives or careers, to continue to grow and pursue their work. The Award is given in recognition of an artist's accomplishments, artistic growth, originality and potential. It is not need-based. The Award is by nomination only.

The name of the grant program, Anonymous Was A Woman, refers to a line in Virginia Woolf’s A Room of One’s Own. As the name implies, nominators and those associated with the program are unnamed. The award was begun in 1996 in response to the decision of the National Endowment of the Arts to cease support of individual artists. For more information, click here.

Arturo Herrera
Bloomberg London Headquarters
Bloomberg London's new headquarters features a collection of contemporary artwork by Michael Craig-Martin, Olafur Eliasson, Arturo Herrera, Cristina Iglesias, David Tremlett and Pae White. Commissioned by Michael Bloomberg and two other curators, the artists have created six site-specific installations throughout the building.

Arturo Herrera's Sortario is located on the 6th floor in the dining room. Sortario is a “wall painting,” crafted from two layers of machine-cut wool felt, which combines bold, abstract shapes with subtle references to Roman artifacts uncovered on site by archaeologists during the construction of Bloomberg London. For more information about Bloomberg London, click here.

Photo by James Newton

Jennifer Packer
Jennifer Packer: Tenderheaded
The Renaissance Society at the University of Chicago
5811 South Ellis Avenue
Cobb Hall, 4th Floor
Chicago, Illinois 60637
September 9 – November 5, 2017

For her first solo institutional exhibition, New York-based artist Jennifer Packer presents new and recent paintings. Tenderheaded brings together multiple strands in the artist’s practice, ranging from portraiture to funerary bouquets.

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. Her works exhibit a rigorous engagement with art history as well as a highly personal response to how black bodies navigate within the present political landscape. For more information, click here.

Image: installation view of Tenderheaded

William Cordova
ankaylli: spatial and ideological terrain
Marfa Contemporary
William Cordova - "ankaylli: spatial and ideological terrain"
Marfa Contemporary
100 East San Antonio St.
Marfa, TX 79843

October 6 - December 22, 2017

In “ankaylli: spatial and ideological terrain,” opening at Marfa Contemporary on October 6, 2017 and on view through December 22, 2017, artist William Cordova exposes relationships between Pre-Columbian traditions, modern architecture, and spiritualism as inflected through Marfa, a town where the three intersect. The installation involves sculptures, collages, photographs, a film, and a constellation of objects placed at sites of significance around Marfa. For more information, click here.

Image: William Cordova, axiom (or the transphysics we knew about. after Rufus Nims 4 M.Essex), 2014-17, gold leaf, graphite, collage on reclaimed architecture printing paper, 50.5 x 105 inches (128.3 x 266.7 cm).

Erin Shirreff
MOMENTA | Biennale de l′image
Erin Shirreff– Concrete Buildings
MOMENTA | Biennale de l’image
Darling Foundry
745 Rue Ottawa
Montréal, Québec H3C 1R8
September 8 - November 19, 2017

Erin Shirreff generates visual displays that probe the distance between the object and its photographic representation. In the double projection Concrete Buildings (2013–16), the artist focuses on two prototype buildings that the American artist Donald Judd designed and built in Marfa, Texas. The video installation presents long-duration montages composed from photographs and short videos. With this piece Shirreff turns Judd’s minimalist structures into emblematic monuments through a persistent gaze inflected with tenderness. She challenges our relationship with the image by foregrounding the ways in which images enlighten us and instil doubt in our minds. For more information, click here.

Image: Still from Concrete Buildings, 2013-16, color video, silent, two channels, loops: 73 minutes and 46 minutes, edition of 3.

Kara Walker
W.E.B. Du Bois Medal
Hutchins Center for African and African American Research
Sikkema Jenkins & Co. congratulates Kara Walker, recipient of the 2017 W.E.B. Du Bois Medal!

Awarded since 2000, the Du Bois Medal is Harvard's highest honor in the field of African and African American Studies. It is awarded to individuals in the U.S. and across the globe in recognition of their contributions to African American culture and the life of the mind. Recipients have included scholars, artists, writers, journalists, philanthropists, and administrators whose work has bolstered the field of African and African American Studies.
In addition to Walker, this year’s medalists include: Donna Brazile, Democratic Political Strategist; Ava DuVernay, Filmmaker; Carla Hayden, Librarian of Congress; LL COOL J, Actor/Recording Artist; John W. Thompson, Chairman of the Board, Microsoft; Darren Walker, President, Ford Foundation; and Jennifer Ward Oppenheimer, Philanthropist (Posthumous). For more information, click here.

Photo by Ari Marcopoulos

Arturo Herrera
Officine Grandi Riparazioni Torino
Track: Arturo Herrera's mural for OGR
Officine Grandi Riparazioni
Corso Castelfidardo, 22
10138 Torino, Italy
October 1, 2017 - January 1, 2020

Track is a site-specific monumental mural by Arturo Herrera, for the entrance hall of OGR Torino’s North Workshops. The Officine Grandi Riparazioni (OGR) Torino is a majestic 19th century industrial complex in Torino, Italy that will now be a center for art, music, food, and cultural programming. The mural's intricate pattern references the building's use as the site of repair for railroad engines - a series of paths that meet spanning in various directions, suggesting also a twisting of branches and trees that stretch upwards. The artwork puts forth the idea of ​​intense movement, suggesting some of the cardinal values ​​of the OGR: interconnection, fluidity and energy. For more information, click here.

Photo by Daniele Ratti

Josephine Halvorson
Gallery Talk: Josephine Halvorson on Dana Schutz
ICA Boston
Gallery Talk: Josephine Halvorson on Dana Schutz
The Institute of Contemporary Art / Boston

William Cordova
2017 Florida Prize In Contemporary Art
Orlando Museum of Art
Sikkema Jenkins & Co. congratulates William Cordova, recipient of the 2017 Orlando Museum of Art Florida Prize in Contemporary Art!

The three jurors of the exhibition were Dan L. Hess, a visual artist based in Central Florida; Katherine Navarro, Associate Curator of Education at The Mennello Museum of American Art; and Joanna Robotham, Curator of Contemporary Art at the Tampa Museum of Art.

Robotham said “It was a pleasure to serve as a juror for the 2017 Florida Prize. Hansen Mulford selected an extraordinary group of artists for the exhibition, each remarkable in their own right. It was challenging to select one winner, as there are many strong, smart works on view. Congratulations to William Cordova. I look forward to seeing more from this outstanding artist.” For more information, click here.

Image: William Cordova, courtesy of Nicholas Travaglini.

Kara Walker
Kara Walker: Figa
DESTE Foundation Project Space
Slaughterhouse, Hydra Island
June 20 - September 30, 2017

Every summer since 2009, DESTE has invited an artist or group of artists to develop an exhibition in the Foundation’s Project Space, a former slaughterhouse on the island of Hydra. This year, DESTE’s Project Space will feature a site-specific exhibition by Kara Walker, conceived in a dialogic relationship with both the original elements of this unique exhibition space and with the landscape which surrounds it.

The project will transport Figa, the left hand of the sphinx-like monument of the A Subtlety installation made with polystyrene and sugar, from its “new world” location at the Domino Sugar Factory in New York to Greece, the birthplace of Western civilization. For more information, click here.

Kara Walker
Kara Walkers Next Act
New York Magazine
At the time of the debut of her most recent public-art project, which was also her first public-art project, Kara Walker would clandestinely ride her bike from her home in Fort Greene to the then-defunct Williamsburg Domino Sugar factory, in which her massive sculpture was housed. The sugar Sphinx was raised in the summer of 2014; crowds as big as 10,000 people gathered to visually consume, and to Instagram, the monumental sculpture. Back then, Walker had dyed the top of her cropped Afro blonde, and her vague purpose in visiting Domino, she tells me, involved evaluating the people who had come to evaluate her work: She wanted to see how the moment of encounter with the colossus could change their faces. But Walker’s presence disturbed things, she says — as soon as viewers noticed, their eyes turned from the idol onto her, then they flocked in her direction. She was slightly exhausted by that, she says, still seeming a bit surprised. “I don’t know, I thought maybe people would be focused on the white-but-black gigantic labia!”

For the full article, click here.

Photo: Ari Marcopoulos

Trisha Brown
Today we remember the life and enduring legacy of Trisha Brown who died on March 18th in San Antonio, Texas after a lengthy illness.

Trisha Brown was born and raised in Aberdeen, Washington. She graduated from Mills College in 1958, studied with Anna Halprin and taught at Reed College in Portland before moving to New York City in 1961, where she became a founding member of the Judson Dance Theater. In 1970, she co-founded the dance collective Grand Union and formed the Trisha Brown Dance Company.

While best known for her career as an avant-garde dancer and choreographer with over 100 dance works to her credit, Brown consistently sought to integrate the visual arts with her performance practice. She collaborated with artists on set and costume designs for her performances, including the likes of Robert Rauschenberg, but for many years she produced her own body of work, primarily in the form of drawings, that meld the art of dance and the visual arts.

In 2008, the Walker Art Center organized a major survey exhibition of Brown’s drawings. Curated by Peter Eleey, Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing traveled to the Mills College Art Museum in Oakland and Musée d’art Contemporain de Lyon.

Brown is survived by her son, Adam Brown, his wife Erin, her four grandchildren – and by her brother Gordon Brown and sister Louisa Brown. Her husband, artist Burt Barr, died on November 7, 2016.

Image: © Marc Ginot

Jennie C. Jones
Sikkema Jenkins & Co. congratulates Jennie C. Jones, recipient of the 2017 Ruth Ann and Nathan Perlmutter Artist-in-Residence Award!

For her Perlmutter residency, Jones will create new work in response to the rich cultural history of the Rose Art Museum and of Brandeis, engaging the university community in the creation of a score inspired by Louise Nevelson’s 1967 retrospective exhibition at the Rose. On April 29, this score will be interpreted and performed by Brandeis student and faculty musicians, who will present it in the Rose galleries during the campus-wide Leonard Bernstein Festival of the Creative Arts. Jones will give a talk about her work and her planned residency project at Brandeis University on March 22 at 5:30pm. For more information about the event, click here.

Sheila Hicks
Venice Biennale
Sikkema Jenkins & Co. is pleased to announce that Sheila Hicks will be participating in the Venice Biennale Arte 2017. For more information, click here.

Image: Sheila Hicks, Mighty Mathilde and Her Consort, 2016
Installation view: Glasgow International, 2016
Photo: Muchael Brzezinski

Burt Barr
We remember the life and legacy of Burt Barr who died on Monday, November 7th.
Burt Barr (1938-2016) was known for his use of traditional cinematic techniques to create simple but humorous videos. Characterized by minimal processes and presentations, use of the single take, 4:3 aspect ratio, and slow fade-ins and fade-outs, Barr’s work was the antithesis of most other contemporary video art. His works often punned, both verbally and visually, on conventions of filmmaking with videos like Slo Mo (1996), featuring a turtle moving in slow motion, and The Long Dissolve (1998), which shows an ice cube slowly dissolving in a glass dish.
Burt Barr began making videos in the mid-1980s. These early works were shown at film festivals in Montreal, Berlin, Toronto, San Sebastian, Melbourne, and Rotterdam, as well as on PBS. In 1993 he made the transition to the installation works that have been exhibited in museums and galleries worldwide including solo presentations at the Whitney Museum of American Art, MoMA PS1, Museo Nacional Centro de Arte Reina Sofía, and Platform Garanti Contemporary Art Center in Istanbul.
From early in his career, Barr worked with personalities of the art-world, many of them actors in various roles. Included in this group are Clarissa Dalrymple, Klaus Kertess, Dorothy Lichtenstein, Trisha Brown (his wife), Robert Rauschenberg, Elizabeth Murray, Cecily Brown, Billy Sullivan, Jessica Craig-Martin, Nessia Pope, Stephen Mueller, Carroll Dunham, Teresita Fernandez, Tim Davis, Ester Partegas, and “downtown” performers such as Willem DaFoe, Diane Madden, Lance Gries, Stephen Petronio, Jodi Melnick, Stanford Makishi, Jimena Paz, Roz LeBlanc, Mindy Myers, and Judith Sanchez-Ruiz. Working with these artists formed yet another dimension to the work – that of documentation of the art community during a particular time in New York City.
Barr was the recipient of grants from The Andrea Frank Foundation (1999), John Simon Guggenheim Memorial Foundation (1998), The Foundation for Contemporary Arts (1996), The Massachusetts Council on the Arts and Humanities (1984), WGBH/WNET (1987), Brooklyn Arts Council (1989), the National Endowment for the Arts (1983,1985,1988,1989,1993), the New York State Council on the Arts (1986,1989,1996), and The American Film Institute (1992).
Barr served as an Instructor of Film and Video Projects at the Pratt Institute, an Instructor of Creative Projects at New York University, and was a Visiting Artist at Skowhegan School of Painting and Sculpture. He lectured at Cornell University, Ohio University, Emily Carr Institute in Vancouver, Rhode Island School of Design, Parsons School of Design, the Museum of Modern Art, Suzanne Dellal Center in Tel Aviv, CAPC Musée in Bordeaux, Anthology Film Archives, and Intermedia Arts in Minneapolis.
Barr was born in 1938 in Lewiston, Maine. He lived in New York and is survived by his wife, the dancer and choreographer Trisha Brown; his step-son, Adam Brown; and Adam's family.

Tony Feher
We remember the life of Tony Feher who passed away on Friday, June 24th after a battle with cancer.
Tony Feher defined a unique place in contemporary art by creating elegant and poetic sculptures and installations using familiar, everyday objects. Pairing an original sense of humor and wit with a controlled minimalist aesthetic, Feher accentuated and exploited the physical characteristics of his chosen material - form, color, texture and weight - to alter our understanding and appreciation these simple objects, thus also altering our world view.
Tony was born in Albuquerque, New Mexico in 1956, and raised in Corpus Christi, Texas, with early stops in Florida and Virginia. He received a BA from The University of Texas, and resided in New York City. Tony had a long history with Sikkema Jenkins & Co., presenting his first solo exhibition in New York at the gallery – then called Wooster Gardens – in 1993. He went on to exhibit his work widely in over 40 solo exhibitions and numerous group shows. In 2012, an in-depth retrospective organized by Claudia Schmuckli premiered at the Des Moines Art Center before traveling to the Blaffer Art Museum at the University of Houston; the deCordova Sculpture Park and Museum in Lincoln, Massachusetts; the Bronx Museum of the Arts; and Akron Art Museum. His work can be found in important international public collections including the Solomon R. Guggenheim Museum and the Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art, The Art Institute of Chicago, and the Museum of Contemporary Art in Los Angeles.

Image: Copyright Timothy Greenfield-Sanders, courtesy Hiram Butler Gallery


Arturo Herrera
Tate Modern
Sikkema Jenkins & Co. is pleased to announce Arturo Herrera's new wall painting for the Tate Modern's Kitchen & Bar. For this commission, Herrera uses a combination of large solid shapes to ‘reflect the energy of Tate Modern as a fluid space where things are never static. The colours, dark and light blue bring an alert calmness to the space while being expansive and open-ended… The colour blue also brings to mind both water and sky and that is distinctly evident at Tate Modern with the River Thames in front of the building and the open sky all around.’ (Arturo Herrera writing in May 2016)

For more information, click here.

Image: Arturo Herrera, Half-time, 2016. Courtesy of the artist. Joe Humphrys, Tate Photography © Tate 2016

Arlene Shechet
The Artist Project
The Metropolitan Museum of Art

The Artist Project is an online series in which the Metropolitan Museum of Art give artists an opportunity to respond to their encyclopedic collection. In this episode, Arlene Shechet reflects on a bronze statuette of a veiled and masked dancer.

"When an artist is in love with the piece that communicates very well over time. So thousands of years later, we’re still feeling it."