2.25H x 6.75W inches each
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture. The Freeway Series was developed in 1995, right after the artist’s inclusion in that year’s Whitney Biennial. As if suggesting that her work should not be restricted to being seen through overtly political or activist lenses, this series lends insight into the city of Los Angeles via its most characteristic urban feature: its highways. By documenting the monumental concrete structures devoid of humans or vehicles, one is suddenly conscious of their real scale, an element only emphasized by the small format of the printed photographs. The otherwise unnoticed massive structures are thus made strange. Like Allen Ruppersberg’s Untitled (City Limits) , which also are taken along the freeway, Opie’s photographs have particular resonance within the Kadist’s “101 Collection.”
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.
For this series, Philip-Lorca diCorcia walked along Santa Monica Boulevard in Los Angeles in search of models who would be prepared to pose in hotel rooms according to pre- planned scenarios...
In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space...
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...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
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...
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...
The Art of Fashion and Legacy: Carla Sozzani and Byronesque’s Unique Collaboration – A Shaded View on Fashion https://byronesque.com/fondazione_sozzani/ Dear Shaded Viewers, In a remarkable intersection of art and fashion, Carla Sozzani, the revered figure in the world of fashion, has embarked on a unique collaboration with Byronesque...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
Mathew Brandt at Rossi & Rossi – ARTOMITY 藝源 Mathew Brandt / Learning to Surf Jan 27 – Mar 9, 2024 / Opening: Saturday, Jan 27, 2pm – 6pm / Rossi & Rossi 11F, 54 Wong Chuk Hang Road Wong Chuk Hang, Hong Kong +852 2116 5282 Tuesday – Saturday, 11am – 6pm rossirossi.com The outcome of Matthew Brandt’s (b...
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...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
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...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
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...
Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Collier Schorr’s prints upend conventions of portrait photography by challenging what it means to “document” a subject...
In the Collage II (Marie) (2013), Shorr seems to have an ostensibly clear subject, a female subject identified in the work’s title as “Marie,” a slim but athletic woman with brown hair pictured reclining atop a brilliantly white sheet draped against a marbled tan-and-white backdrop...
Eileen Quinlan’s abstracted images, like Swipe , rely on the manipulation of photographic materials inside the studio itself, and reject the exterior world for complex interrogations of the medium....