Catherine Opie's Eye for Identity at Heide Museum of Modern Art

Catherine Opie's Eye for Identity at Heide Museum of Modern Art
Catherine Opies Eye for Identity at Heide Museum of Modern Art

Catherine Opie, Divinity Fudge (1997). Pigment print. 60 x 30 cm. © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York/Hong Kong/London/Seoul.

Catherine Opies Eye for Identity at Heide Museum of Modern Art

Catherine Opie, Bo (1994). C-type print. 152.4 x 76.2 cm. © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York/Hong Kong/London/Seoul.

Catherine Opies Eye for Identity at Heide Museum of Modern Art

Catherine Opie, Self-Portrait / Cutting (1993). C-type print. 40 x 30 cm. © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York/Hong Kong/London/Seoul.

Catherine Opies Eye for Identity at Heide Museum of Modern Art

Catherine Opie, Rocco (2012). Pigment print. 127 x 97.5 cm (oval). © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York/Hong Kong/London/Seoul.

Catherine Opies Eye for Identity at Heide Museum of Modern Art

Catherine Opie, Oliver in a Tutu (2004). C-type print. 24 x 20 cm. © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York/Hong Kong/London/Seoul.

By Rory Mitchell – 5 April 2023, Bulleen

Catherine Opie‘s ability to capture diverse perspectives shines through in her exhibition at Heide Museum of Modern Art in Bulleen, Melbourne.

Binding Ties (1 April–9 July 2023) is Opie’s first survey in Australia, uniting three decades of work, including her most recognisable photographs.

Gender, sexuality, and queer cultures are central themes in the American artist’s practice. Her images breathe with humanity and draw viewers into a world where gender and sexuality are fluid, and society is more inclusive.

Best known for her portraits, Opie documented her friends, drag performers, and transgender members of the queer community in Los Angeles and San Francisco throughout the 1990s.

Photographs like Divinity Fudge (1997) and Bo (1994) spotlight queer individuals with admiration, compassion, and respect, illuminating otherwise repressed and invisible subcultures.

In conversation with Ocula Magazine in 2018, Opie discussed the questions that her work is trying to answer.

‘I’d say that my questions have a lot to do with ideas of democracy and humanity, and trying to create work that allows a pause for the ability to meditate on those thoughts.’

Main image: Catherine Opie, Oliver in a Tutu (2004). C-type print. 24 x 20 cm. © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York/Hong Kong/London/Seoul.

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