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.
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...
In borrowing and subverting images from popular culture, Sadie Benning exposes the media’s role in constructing false and oppressive stereotypes of women, with regard to gender and sexual identity...
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...
Carland’s series of large-format photographs Lesbian Beds (2002) depicts beds that have been recently vacated...
LaToya Ruby Frazier is an artist and a militant; her photos combine intimate views of her relation with her parents and grandparents with the history of the Afro-American community of Braddock, Pennsylvania, where she grew up and where her family still live...
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...
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...
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...
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...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
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...
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...