Catherine Opie, ‘Crenshaw HS Marching Band’, 2010, Los Angeles County Museum of Art

Opie produced this work in conjunction with her 2010 exhibition at LACMA, “Catherine Opie: Figure and Landscape”. The photograph, like the show as a whole, focuses on high school football games as a means of exploring “masculinity, community, and national identity.”

Signature: Signed and numbered by Catherine Opie on the front of the print; certificate of authenticity included

About Catherine Opie

Catherine Opie raised eyebrows with her early 1990s studio portraits of gay, lesbian, and transgendered men and women associated with California’s sadomasochist leather subculture. Most jarring were two self-portraits showing self-inflicted wounds, respectively forming a child-like image of a house and two women holding hands (Cutting, 1993) and the word “pervert” carved into her skin (Pervert, 1994). For all the provocation, however, Opie’s work contains elements of documentary and classicism, and seeks empathy with its subjects. For instance, the 1995 marriage portraits she shot in homes across the country exposed the public to the poignancy of female domestic partnerships. The theme of inclusion versus exclusion runs throughout her ongoing exploration of communal, sexual, and cultural identities, which takes the form of cityscapes, landscapes, and even depictions of football games, along with her signature portraits.

American, b. 1961, Sandusky, Ohio, based in Los Angeles, California

Solo Shows on Artsy

Catherine Opie: 700 Nimes Road, George Eastman Museum, Rochester
Hammer Projects: Catherine Opie: Portraits, Hammer Museum, Los Angeles
Catherine Opie 700 Nimes Road, MOCA, Los Angeles, West Hollywood

Group Shows on Artsy

Contemporary Magic, The Untitled Space, New York
Faces (plus), Vivian Horan Fine Art, Online
Human Interest: Portraits from the Whitney’s Collection, Whitney Museum of American Art, New York
Queertopia. It takes a village., Galerie Kornfeld, Berlin