Tag Archives: Sikkema Jenkins and Co.


Deanna Lawson’s “meticulously staged yet profoundly intimate images of the sartorial styles, quotidian habits, and domestic interiors of the African diaspora in her native United States, Brazil, and beyond” are now on view in Basel.*

One of my first visual influences… was the idea of a family album… In my portrait work, I am creating more formal stages, a theater of the family snapshot…

I think that there is definitely something tragic in the family photograph—it’s a fundamentally retroactive idea. We make the image specifically to look back on it, to refer to it later in life. Even in my old family albums, the process of aging—the space between them and now—can be haunting and unstable. How to deal with the idea of projected time in a static medium is an interesting challenge. While the work is by no means autobiographical, its impulses are born from personal experiences. It references people I knew and had relationship with. — Deana Lawson

DEANA LAWSON—CENTROPY is co-produced with the Fundação Bienal de São Paulo as part of the 34th Bienal de São Paulo—Though It’s Dark, Still I Sing. The curatorial team includes Jacopo Crivelli Visconti, Paulo Miyada, Carla Zaccagnini, Francesco Stocchi, and Ruth Estévez.


Through October 11.

Kunsthalle Basel

Steinenberg 7, Basel.

Deana Lawson, Centropy, Kunsthalle Basel, June 9, 2020–October 11, 2020, from top: Daenare, 2019; Chief, 2019; installation view of Latifah’s Wedding, 2020 (left), and Vera, 2020; installation views of Boom Box Hologram (working title), 2020, and Fragment (church) (working title), 2020; ; installation view and detail of House of My Deceased Lover, 2019 (2); installation view of Niagara Falls, 2018 (left), and Taneisha’s Gravity, 2019; installation view of Fragment (Jacqueline and Taneisha) (working title), 2020; An Ode to Yemaya, 2019. Installation photographs by Philipp Hänger. Images courtesy and © the artist, Kunsthalle Basel, and Sikkema Jenkins & Co.


“Louis Fratino deeply intimate paintings, often featuring lovers, family, friends, and the artist himself, present the human figure as a site of vast emotive expression.”*

The artist’s sensual new work—which recalls a mood of Provincetown and Fire Island in the mid-twentieth century—is now on view at Sikkema Jenkins.


Through May 24.

Sikkema Jenkins & Co.

530 West 22nd Street, New York City.

See ” ‘Boys Do it Better’: The Paintings of Louis Fratino, by Christopher Alessandrini.

Louis Fratino, oil on canvas, from top: Bushwick, 2019, oil on canvas; Me and Ray, 2018; Tom, 2019; Me, 2019; Invitation, 2019; Yellow Sleeper, 2019; Kissing Couple, 2019. Images courtesy of the artist and Sikkema Jenkins & Co.