Alistair Fate (1994) depicts, presumably, a member of the LGBT community. Catherine Opie is known for her portraits of LGBT, queer, and outsider people; she intends them to come off not as shocking or different, but as human despite their deviance from societal norms. This image is one of several works by Opie in the Kadist Collection that show marginalized people, filtered through the artist’s signature appropriation of formal and classical portraiture in the interest of both documentation and reframing.
Since the 1990s, Catherine Opie has been recognized for her use of documentary photography to address issues of community and queerness, and the ways in which identity is shaped by architecture. Particularly resonant during the Culture Wars of the 1980s and early 1990s—a time in which the religious right tried to impose itself as a political force and cultural censor—Opie’s photographs privilege the representation of specific communities, whether the LGBT, teenagers, surfers, football players, or her group of friends who engage in sexual role playing, tattooing, and piercing.
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
Pasajes I is the first in a series of Sebastián Díaz Morales’s four videos Pasajes , which focuses on a solitary man walking through Buenos Aires...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Zanele Muholi’s Potent Portrait of South Africa’s Queer Community | AnOther As their new exhibition opens in San Francisco, Zanele Muholi talks about their powerful photos of queer survivors of hate crimes, couples in everyday moments, and self-portraits referencing history February 02, 2024 Text Emily Steer Zanele Muholi creates potent portraits...
In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...