Deana Lawson

Signs
2016

Not on view

Date
2016

Classification
Photographs

Medium
Inkjet print

Dimensions
Sheet (sight): 53 1/4 × 42 3/8in. (135.3 × 107.6 cm) Image (sight): 53 1/4 × 42 3/8in. (135.3 × 107.6 cm)

Accession number
2018.94

Credit line
Purchase, with funds from the Photography Committee and the Henry Nias Foundation

Rights and reproductions
© Deana Lawson


Audio

  • Whitney Biennial 2017, Spanish

    Deana Lawson

    Deana Lawson

    0:00

    Mia Locks: Creo que un aspecto interesante en la obra fotográfica de Deana Lawson es que, a primera vista, las imágenes no parecieran montadas sino que semejan instantáneas, pero en realidad están muy construidas.

    Narrator: Mia Locks.

    Mia Locks: Con frecuencia se inspiran en un recuerdo de la fotógrafa o en algo que imagina. Luego dibuja bocetos para después encontrar a la persona, bien sea que la conozca o no; por ejemplo, alguien que descubre en el supermercado.

    Creo que Deana revela algo interesante en trabajo. Dice que, al trabajar con extraños, se inspira en la idea de un álbum familiar extenso.

    Christopher Lew: Algo que siempre me ha interesado de la obra de Deana es el respeto y la dignidad que la artista da a la gente fotografiada.

    Narrator: Christopher Lew.

    Christopher Lew: Una de las motivaciones principales de la artista es presentar personas negras con la dignidad, respeto y amor que considera ausentes en las imágenes dominantes o en las difundidas en las noticias.

  • Whitney Biennial 2017

    Deana Lawson

    Deana Lawson

    0:00

    Mia Locks: I think one of the interesting things about Deana Lawson’s photographs is that upon first glance they don’t really look like they’re staged, they seem almost like snapshots, but in fact they’re really highly constructed.

    Narrator: Mia Locks.

    Mia Locks: They’re often inspired either by a memory of hers or something in her imagination, and she’ll actually draw sketches, and then she’ll actually find a person either that she knows or sometimes a stranger that she just sort of sees in the supermarket and she’ll actually cast someone.

    I think one of the interesting things that Deana has said about this body of work is that it draws inspiration from this idea of an expanded family album, when she’s often working with strangers.

    Christopher Lew: One of the things that’s always drawn me to Deana’s work is the sense of respect and dignity that she gives to the people that she photographs.

    Narrator: Christopher Lew.

    Christopher Lew: One of the really primary motivations for her is to present black people with the kind of sense of dignity and respect and love that she feels is lacking in say mainstream images or what you find in the news.




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