Over 300 photos from Catherine Opie's 40-year career have been selected for her new book, which she calls “a full, up-to-date examination of my work.”
among them—are framed in the book like moody renaissance paintings. She describes portraits like these as “highly performative,”—and this description applies when it comes to self-portraits, too. The book includes a shot Opie took of herself donning a plaid shirt while chopping wood in a New Zealand forest.
“It’s me trying to be butch and heroic. I had to chop wood to heat the house every day, there was no other heater,” Opie recalls. “Any self portrait of mine is performative.” Currently, the artist is working toward her next book and an exhibition of work focused on 2020, a pivotal year in which she shot places where American monuments had been removed and the places most affected by the protests that took place during the Trump administration. As one of the most renowned women photographers in America today, she recognizes there’s still time to nurture the female gaze in mainstream photography.
“There’s more progress now, but photography when I was coming up was a male-dominated field,” Opie says. “It’s incredibly hopeful but still, the big money makers are a handful of men. I’m happy how things are being shaken up a bit. Not only for women, but the BIPOC community, as well.”Courtesy of Catherine Opie and Regen Projects, Los Angeles; Lehmann Maupin, New York/Hong Kong/Seoul/London; Thomas Dane Gallery, London and Naples; and Peder Lund, Oslo. High School Football, 2007–2009.
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