America In View: Landscape Photography 1865 to Now, at RISD Museum of Art
September 21, 2012 through January 13,2013
Featuring the works of Catherine Opie and Justine Kurland, America in View reveals a nation's ambitions and failings, beauty and loss, politics and personal stories through about 150 photographs spanning nearly 150 years.
Catherine Opie featured on Season 6 of Art21's "Art in the 21st Century"
premieres April 13, 2012 at 9:00 p.m. on PBS
Over the past decade, Art21 has established itself as the preeminent chronicler of contemporary art and artists through its Peabody Award-winning biennial television series, "Art in the Twenty-First Century." The nonprofit organization has used the power of digital media to introduce millions of people of all ages to contemporary art and artists and has created a new paradigm for teaching and learning about the creative process. "Art in the Twenty-First Century" Season Six includes 13 profiles of artists from four continents gathered into four, one-hour thematic episodes: Change, Balance, History and Boundaries. Spanning the globe from Nigeria to New York City, from Beijing to Brazil, the programs reveal the artists at work and speaking in their own words as they demonstrate the power of art to alter perception, challenge convention, and change how we see the world around us.
Catherine Opie in HIDE/SEEK at the Brooklyn Museum
November 18, 2011-February 12, 2012
Catherine Opie is featured in the first major museum exhibition that showcases themes of gender and sexuality in American portraiture--HIDE/SEEK: Difference and Desire in American Portraiture. Initially organized by the National Portrait Gallery, Smithsonian Institution, the original presentation was co-curated by David C. Ward amd Jonathan D. Katz. The Brooklyn Museum presentation, coordinated by Tricia Laughlin Bloom, charts the underdocumented role that sexual identity has played in the making of modern art, and highlights the contributions of gay and lesbian artists to American art. Tracing the coded narrative of sexual desire in art produced from the early modern period through the present, HIDE/SEEK displays responses to the Stonewall riots of 1969, the AIDS epidemic and post-modern themes of identity.
When I arrived for my visit last fall, Catherine Opie was in her living room with friends, choosing favorites from a group of her portraits of the swimmer Diana Nyad, taken after her recent attempt to navigate the waters between Cuba and Florida. The pictures would soon appear in the New York Times Magazine, to which the photographer contributes when she can find time.
Social Problem: Helen Molesworth on Catherine Opie and "theanyspacewhatever"
Recently, the Solomon R. Guggenheim Museum in New York presented two concurrent exhibitions—"Catherine Opie: American Photographer" and "theanyspacewhatever" (curated by Jennifer Blessing and Nancy Spector, respectively)—and unwittingly staged a crucial aesthetic and ethical debate, which, put succinctly, pits "identity politics" against "regional aesthetics."
Catherine Opie proudly calls herself a pervert. In 1994, she even had the word carved into her ample chest, to make one of the most arresting self-portraits since Robert Mapplethorpe photographed himself with a bullwhip in his anus back in the '70s.