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...
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...
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it...
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...
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...
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
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...
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...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
In the six-minute single-channel video Higher Horse , Kate Gilmore perches herself on top of a tall pile of plaster blocks, in front of a pink colored wall with vein-like streaks of red...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
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...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
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 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...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...