40H x 56.5 inches
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture. In the background, the steel pillars creates a division of space implying a separation the two men according to their geographic regions of origin or residence, their vocations, their ethnicities, and their attitudes toward war. Yet, the mirrored body language of the two characters also suggests their reconciliation into a dialogue perhaps characterized by the protagonists’ physical and spiritual conversation. This photograph translates the artist’s ambivalence about military action. But this ambivalence becomes intrinsically complicated through LÊ’s rich use of color renders the kaleidoscopic shifts of terrain and sudden intrusion of beauty, atmosphere and psychology within her observations if the military at work. The heightened aesthetics qualities become unsettling, precisely because they counter the horrific violence that we expect from wartime imagery, as well as our collective historical memory of such extreme traumas as the Vietnam War. LÊ’s image, by extension, adds a disconcertingly glossy veneer to a moment of stasis, as if to suggest that war and military intervention are defined just as much by the quiet moments in between battle as they are by violence itself.
An-My LÊ arrived in the United Sates in 1975 as a war refugee from Vietnam. LÊ is a prolific photographer whose work blurs presumed boundaries between documentary and portrait photography. Her more recent work displays a rich use of color and an aesthetic beauty that belies the horrific imagery associated with violent combat. In such, her photographs also challenge the limits of reportage by suggesting that all representation is, on some level, fabricated for the camera and that the underlying narratives that we as viewers presume are never exactly what they seem.
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....
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
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Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
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Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
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Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
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...
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...