Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender. The very practice of being photographed raises many complex issues around gender performance and the relationships between an inner self and an outer public persona. Even though Mike and Sky are cropped and obscure one another, many of their choices for self-presentation—as emphasized by their tattoos—remain visible.
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.
Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
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 small drawings that comprise Study from May Day March, Los Angeles 2010 (Immigration Reform Now) and We Are Immigrants Not Terrorists are based on photographs taken at a political rally in downtown Los Angeles in which thousands of individuals demonstrated for immigrants’ rights...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
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...
Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910) is a visually compelling photogram...
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...
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....
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
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...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
Lynn Hershman Leeson’s genre-bending documentary Strange Culture tells the story of how one man’s personal tragedy turns into persecution by a paranoid, conservative, and overzealous government...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...