“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.


The exhibition GORDON PARKS—THE NEW TIDE, EARLY WORK 1940–1950G looks at his mid-century work from the time when “images began to proliferate in picture magazines and on television,” providing an “engaging study of the competing purposes and meanings” of his commissions—journalistic, governmental, industrial, and fashion.*


Through June 9.

Cleveland Museum of Art

11150 East Boulevard, Cleveland.

Gordon Parks, gelatin silver prints, from top: Self-Portrait, 1941; Washington, D.C. Government charwoman, [Ella Watson],1942; Tenement Dwellers, Chicago, 1950; Paris Fashions, 1949. Images courtesy and © the Gordon Parks Foundation.


Cornelia Hediger‘s DOPPELGÄNGER is now on view in Philadelphia.

“The DOPPELGÄNGER series of photographs are pictorial narratives that explore internal human emotions, notions of the uncanny, the subconscious/conscious mind, the ego and the alter ego. The narrative structure itself is based upon and utilizes the concept of the Doppelgänger—specifically as understood within Germanic literature: a ghostly double or apparition of a living person, widely assumed to be sinister and a harbinger of bad luck, but also highly ambiguous, thus presenting a psychological dilemma. The central characters are enacted by the artist herself within claustrophobic and timeless spaces.

“The structural device of the tableaux-vivant is used to carefully choreograph multiple individual, full-frame photographs into single artworks, using a grid system that also serves to maintain the photographic integrity of each photograph. Most of the artworks are constructed with six photographs, but as the series has progressed they have developed in complexity, incorporating up to twelve.” — Cornelia Hediger


Through June 15.

Pentimenti Gallery

145 North Second Street, Philadelphia.

Cornelia Hediger, digital C-prints, from top: Doppelgänger 06.21.07, 2007; Doppelgänger 05.18.09, 2009; Doppelgänger 08.02.10, 2010; Doppelgänger 11.26.09, 2009; Doppelgänger 07.20.07, 2007; Doppelgänger 01.22.09, 2009; Doppelgänger 10.03.08, 2008; Doppelgänger 04.21.11, 2011; Doppelgänger 12.03.07, 2007. Images courtesy of the artist and Pentimenti Gallery.


CITIES OF LAST THINGS—the fifth feature by director Ho Wi Ding—follows a haunted police detective through a reverse-narrative spiral. Reminiscent of the gorgeous neon-and-noir dreamscapes cinematographer Christopher Doyle created for Wong Kar-Wai, the Taipei triptych opens with a suicide in the year 2056, then works its way back to 2019 and the 1990s.

Jack Kao (61 years old), Lee Hong Chi (29), and young Hsieh Chang Ying play Zhang Dong Ling over the course of three crucial nights in the character’s life. The film was shot in 35mm for a wonderfully grainy sheen—Jean Louis Vialard was the director of photography. This award-winning Los Angeles Asian Pacific Film Festival selection screens Monday night in Los Angeles.


Monday, May 6, at 6:30 pm.

Regal L.A. Live Cinemas

1000 West Olympic Avenue, downtown Los Angeles.

From top: Louise Grinberg and Lee Hong Chi in Cities of Last Things; Jack Kao; Ding Ning (center right); Lee (right); Grinberg. Images courtesy the filmmaker and LAAPFF.


“The beauty of dance… is that it gets passed from one body, one soul, to another. There’s something so beautiful, so precious about that. It comes out of the body, it goes into the air, and then it disappears.” — Stephen Petronio

In the afterglow of the Merce Cunningham—Night of 100 Solos events, the immersive new documentary IF THE DANCER DANCES tells a different Cunningham story: the 2015 restaging of the choreographer’s RainForest by the Stephen Petronio Company.

The sexual quality and hint of narrative in this 1968 dance—with music by David Tudor, costumes by Jasper Johns, and décor by Andy Warhol (the silver, helium-filled pillows)—create an atmosphere distinct from almost every other Cunningham work. The challenge for the stagers—and Cunningham company veterans—Andrea Weber, Meg Harper, and Rashaun Mitchell is replacing the continuous-movement ethos of the Petronio dancers with Cunningham’s non-momentum aesthetic. As the film demonstrates, how to do this is perhaps a subject of dispute:

“The focus needs to be exactly on what you’re doing, and not on an image of anything.” — Meg Harper

RainForest… transcended pure movement… [The dancers] need to hear images that might help them.” — Gus Solomons, Jr., Cunningham company veteran

IF THE DANCER DANCES—directed by Lise Friedman and Maia Wechsler—mixes extensive performance and interview footage of Petronio’s dancers and their teachers with scenes of Cunningham rehearsals from the 1960s. This essential document of modern dance making and Cunningham’s philosophy and practice is playing around town through May 9.


Through May 9.

Q & A with former Cunningham dancers following 3 pm show on May 4.

Music Hall

9036 Wilshire Boulevard, Beverly Hills.


Monday and Tuesday, May 6 and 7.

Q & A with former Cunningham dancers following 7:30 pm show on May 6.


11523 Santa Monica Boulevard, West Los Angeles.

Playhouse 7

673 East Colorado Boulevard, Pasadena.

From top: Nicholas Sciscione and Davalois Fearon in If the Dancer Dances, performing Merce Cunningham ‘s RainForest; Jaqlin Medlock and Sciscione rehearsing RainForest; Meg Harper (center) with Fearon in rehearsal, Gino Grenek behind Foster; Stephen Petronio Company, Grenek, Fearon, and Sciscione, RainForest performance, Joyce Theater, April 2015, photograph by Yi-Chun Wu, image © 2015 and courtesy the Andy Warhol Foundation for the Visual Arts, Inc., Artists Rights Society (ARS), New York, and the photographer; Stephen Petronio. Film stills courtesy of Monument Releasing. Below: Merce Cunningham in RainForest, 1968, photograph by Martha Keller, courtesy of the Merce Cunningham Trust.