Catherine Opie’s exhibition, “To Be Seen,” now open at the National Portrait Gallery in London, isn’t simply a collection of photographs; it’s a powerful declaration of visibility. Spanning three decades of function, the exhibition showcases Opie’s unflinching gaze as she captures the complexities of queer identity, family, and the performance of self. The show, the artist’s first major UK museum exhibition, presents a compelling narrative of belonging and defiance, framed by both personal intimacy and broader cultural shifts. Opie’s work, deeply rooted in the tradition of portraiture, simultaneously honors the past and boldly reimagines it for a contemporary audience.
Opie’s approach is often compared to that of the Old Masters, particularly Hans Holbein the Younger, a comparison the exhibition itself acknowledges. Like Holbein, Opie employs dramatic lighting, saturated colors, and a meticulous attention to detail to elevate her subjects. But where Holbein documented the Tudor nobility, Opie focuses on communities often marginalized or overlooked, offering a counter-narrative to traditional representations of power and influence. This deliberate aesthetic choice isn’t merely stylistic; it’s a statement that these individuals, and their stories, deserve to be seen and remembered.
Early Work and the AIDS Crisis
The exhibition begins with “Being and Having” (1991), a seminal series that established Opie’s distinctive style and commitment to portraying her community. This work features 13 lesbian friends embodying their masculine alter egos, complete with carefully applied fake moustaches. The photographs, shot against a vibrant yellow backdrop, are striking in their directness and playful energy. However, the context of their creation – the height of the AIDS crisis – adds a layer of profound significance. As The Guardian notes, the series is imbued with a sense of urgency and resilience, a testament to a community facing immense loss and adversity.
The image of “Chloe” (1993), featured prominently in reviews, exemplifies this duality. The close-up framing and visible adhesive from the moustaches create a sense of intimacy and vulnerability, while the confident pose and direct gaze convey strength and self-possession. It’s a portrait that is both humorous and deeply moving, capturing the spirit of a community determined to live fully in the face of adversity.
Expanding the Portrait: From Footballers to Baroque Influences
Opie’s artistic exploration extends beyond the queer community. More than a decade after “Being and Having,” she turned her lens to high school footballers, documenting their physicality and the complex dynamics of masculinity in American youth culture. These photographs, contrasting the athletes’ imposing uniforms with their often-equivocal expressions, offer a nuanced perspective on the performance of strength and the pressures of adolescence.
The exhibition too showcases Opie’s larger-scale, baroque-inflected portraits, which draw inspiration from classical painting. These works, often featuring fellow artists like Mary Kelly and John Baldessari, are presented against a dramatic backdrop of carmine and black velvet, lending them a sense of gravitas and timelessness. The National Portrait Gallery has also integrated Opie’s portraits into its permanent collection, placing them alongside 19th and 20th-century oil paintings, further emphasizing their artistic merit and historical significance, as reported by StreetNet.
Intimacy, Vulnerability, and the Search for Safety
Throughout her career, Opie has consistently explored themes of intimacy and vulnerability. “Self-Portrait/Nursing” (2004), a particularly poignant work, depicts the artist breastfeeding her son, Oliver. The photograph is remarkably raw and honest, exposing the scars and tattoos on Opie’s skin while simultaneously celebrating the profound bond between mother and child. It’s a powerful image that challenges conventional notions of motherhood and beauty.
Other works in the exhibition delve into more challenging territory, such as “Raven” (date not specified), a photograph of a friend chained to a barbed-wire fence, evoking imagery of Christ’s crucifixion. This image, alongside others documenting protests and rallies – including posters from a USC campus demonstration addressing sexual assault – speaks to the ongoing struggle for safety and justice. One poster, stark in its simplicity, asks, “Will I ever experience safe?”
A Celebration of Everyday Life
Amidst the more overtly political and emotionally charged works, Opie also finds beauty in the everyday. A photograph of her son, Oliver, wearing a tutu in the kitchen, captures a moment of pure joy and possibility. This image, taken during the Bush era, serves as a reminder of the importance of protecting innocence and creating safe spaces for children to explore their identities. The exhibition ultimately underscores the fundamental human needs for family, love, and care.
“Catherine Opie: To Be Seen” is a deeply moving and thought-provoking exhibition that celebrates the power of portraiture to challenge perceptions, foster empathy, and affirm the dignity of all individuals. The exhibition runs at the National Portrait Gallery, London, until May 31st. It’s a show that invites viewers to look beyond the surface and truly *see* the people within the frames, and to reflect on the ongoing quest for visibility and belonging.
As Opie’s work continues to evolve, it will be fascinating to see how she continues to navigate the complex intersections of identity, representation, and social justice. The exhibition leaves a lasting impression, prompting viewers to consider not only what is visible, but also what is necessary – the fundamental human connections that sustain us all.
