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Sikkema Jenkins & Co. presents a group show featuring works by Brenda Goodman, Arturo Herrera, and Cameron Martin


Sikkema Jenkins & Co. presents a group show featuring works by Brenda Goodman, Arturo Herrera, and Cameron Martin
Installation view.
NEW YORK, NY
.-Sikkema Jenkins & Co. is presenting a group show featuring works by Brenda Goodman, Arturo Herrera, and Cameron Martin. The exhibition explores each artists’ unique interpretation of abstraction through the accumulation of layers. Cameron Martin’s works on paper ripple with the meticulous application of marker, melding stroke into stroke to effect a shimmering, dimensional color field. His canvases are painted in overlapping, often transparent layers using techniques that complicate the distinction between the handmade and the mechanical. Both Brenda Goodman and Arturo Herrera consider the presence of negative space in their paintings, through differing compositional processes. Herrera’s collages are created by the application of loose, bold paint strokes upon cut photographs and found media. Alternately concealing and ....

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La Escuela de Traductores de Toledo, el eslabón perdido de la historia de la...

La Escuela de Traductores de Toledo, el eslabón perdido de la historia de la...
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The ruin-strewn landscapes of Hubert Robert


The ruin-strewn landscapes of Hubert Robert
How Hubert Robert assembled new worlds with the tumbled remains of the classical past.
If Hubert Robert was not born with a silver spoon in his mouth his at least was silver-gilt. His parents were personal assistants to the diplomat and courtier the Marquis de Stainville and the Marquise, and so he grew up as an adjunct to a high status family. The connection gave him both access to a classical education and an entrée into an aristocratic world of would-be patrons. Where others might be awed, throughout his career Robert was known for the easy way, learned in youth, he conducted himself with the nobility. ....

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This Israeli artist found inspiration in north St. Louis for new exhibit


Before artist Dana Levy came to St. Louis, she didn’t think the city would provide an “extreme” enough setting for her work. But when the Israeli-born artist traveled in 2019 to north St. Louis, she had never seen a place like it, she recalled.
If the buildings, abandoned, crumbling and covered in vegetation, were any indication, many people from wealthier parts of the city had not
seen it either — or at least taken a long look. Levy had found the right area to film her surreal warning about the future.
She gathered eagles, owls, vultures and lizards and filmed them north of the Delmar Divide, a geographical boundary often used as a reference point to explain the socioeconomic and racial differences that exist in the city. ....

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