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.
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
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...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...